Schoenberg searched for "unity and regularity" in music, which was to be achieved without the procedures of tonality, for Schoenberg felt tonality had run its course. For fifteen years, he followed a path that led to his "discovery" of the "method of composing with twelve tones which are related only with one another." Schoenberg experimented with the serialization of smaller groups of notes before applying the idea to all twelve. Schoenberg's first compositions in the new, twelve-tone idiom were published in the Suite for Piano. Opus. 25 between 1921 and 1923, in which each of the six pieces is dodecaphonic. (12 note system). From the sound perspective, it abandoned the traditional tonality and harmony and other long- established musical language, so that the sound and tone of music created great disparity, resulting in a special sound color, diverting textures, complex rhythmic counterpoint and delicate timbre changes. This work proclaimed to the world that Schoenberg has created a new system and technology for the composer and put up a new milestone in the history of music. As the Canadian pianist Glenn Gould evaluated “ in the first quarter of this century, I dare say, not a piano solo works can be comparable with it.”
Firstly, we need to have some knowledge of 12 tones. In an octave, the inter-relationship of the twelve chromatic tones is equally important. The traditional major and minor scales are completely abandoned by Schoenberg. Secondly, these twelve notes can be arranged in any order of a sequence, but cannot duplicate the phenomenon. It is however, a thoroughly complex and strict principle. At the same time, the principle of sound is also in accordance with the above arrangement, therefore, the traditional “ triad” ...
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... is paralleled by a barely detectable triple movement in the “Menuett”. Contrarily, while an antecedent- consequent phraseology is clearly audible at the opening of the “ Musette”, the tonal implications of the title, discussed earlier, are addressed and modified.
After all, we might say that the 12-tone system is anti-musical because it supplants centuries-long development of harmony and voice-leading with a new harmonic "language". Due to its special artistic features, exemplifying the “ fusion of old and new”, Schoenberg fuses the traditional and modern elements into one, enabling the twelve- tone works to have vitality and expressiveness.
Arnold Schoenberg said "People accuse me of being a mathematician, but I am not a mathematician, I am a geometer”.
He decided to use his knowledge of the rules to break them,
And break them he did.
This concert is held by the Stony Brook University music department and is to perform seven pieces of music written by seven student composers. The concert is performed in Recital Hall of Staller Center in Stony Brook University. Since it is a small hall, audiences are very close to the performers. In fact, it is the first time I am this close to the performers and the sound for me is so clear and powerful that seems like floating in front of my eyes. Among the seven pieces, “Ephemeral Reveries” and “Gekko no mori” are piano solo, “Two Songs for Joey” is in piano and marimba, “Suite” and “Fold Duet No. 1” are in woodwinds, “Elsewhere” is played by string groups, and “e, ee, ree, and I was free” is in vocal. Personally, I like the sound of piano and guitar the best. Therefore, in the latter part I will analysis two pieces in piano, “Gekko no mori” and “Two Songs for Joey”.
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
A peer to such keyboard greats - such as Rubenstein, Thalberg, and Liszt - Clara Schumann (1819-1896) was a brilliant pianist and composer. Carrying a career which extended over sixty years, Schumann contributed a great deal of repertoire to the world of Lieder. Much like her performing technique, her compositions were famous for carrying a beautiful tone and poetic temperament. In analyzing Clara Schumann’s Liebst du um Schönheit, one can cultivate an understanding of Schumann’s compositional techniques, as they are implemented in the style of German lieder.
Next we come to a point in time where a great leap had to be made. Musicians had made positive steps forward in the way of pitch and time but of only one or two notes at a time. What was needed was an in instrument that gave players control of many pitches simultaneously. The mechanism ...
Willoughby, David. "Chapter 11." The World of Music. 7th ed. New York: McGraw-Hill, 2012. 249-53. Print.
The exposition of Dussek’s Piano Sonata in G Major can be broken down into two primary themes, two secondary themes, and finally a transition into cadential extension. The first primary theme is made up in large by a parallel period. The antecedent begins on measure 1 and continues to measure 4. A 2:2:4 sentence connects the antecedent with the consequent, which begins on measure 12. Much like the antecedent, the consequent gives off an impression of statement and response; however, it is more apparent in the consequent due to the drastically changing dynamics. Overall bleeding into the continuation of the consequent which begins on measure 16. The continuation concludes with a sequence emphasizing the central theme of the piece. The silence within the figures of this theme bring attention that a change is about to take place, leading into the second primary theme. While it can be considered a transition due to the right hand primarily playing sixteenth note runs with a chromatic structure, measure 23 is the beginning of the second primary theme. The secondary theme can b...
The organum, which thrived at Notre Dame cathedral in Paris, was one of the earliest types of polyphony. It was very much similar to a trope, as it added vertical notes onto an existing melody or plainchant. There is quite the development of the organum between the 10th and 12th centuries. French composers, Leoninus, and Perotinus, were leading contributors to the evolution of the organum advancing the terms “free organum”, and “discant organum”. Through examining the works throughout Musica enchiriadis of the 10th century, and the compositions of Leoninus and Perotinusis in the 12th century, it is made clear that the the organum endured influential alterations both melodically and rhythmically.
...es into the opening of the last movement. Additionally, the diminution of number of lines and momentum can be compared with the long tonic octave at the end of the fugue in Op. 133.
Music for Eighteen Musicians (MFEM) is a minimalist composition by Steve Reich written between 1974 and1976. Though this piece was a culmination of Reich’s previous minimalist work, it was also innovative in its elements of structure and harmony. Reich emphasizes this point in saying “there is more harmonic movement in the first five minutes of Music for Eighteen Musicians than in any complete work of mine to date.” It was also his first attempt at composing for a large ensemble building upon his frequent use of piano and pitched percussion with a violin, a cello and two clarinets. The context leading up to the composition of Music for Eighteen Musicians sheds light onto the reason why it was composed and in a greater sense why Minimalism as a whole was born.
Compared to Mozart’s Sonata K.330, this work is longer and more energetic at some parts. Mozart’s K.330 has a lot of fast-tempo and dotted melodies, which gives the peice a brisk feeling, but does not show many manipulations of strong harmonies as Schumann’s work does. Unfortunately, our textbook does not include piano music composed by Schumann, we should compare Fantasiestucke, Op.12 with other piano music our textbook has. The Fantasiestucke, Op.12 has several sections, some of which are smooth and delicate, yet others are very exciting. The entire peice shows some typical features of Schumann’s style. It is obvious that Beethoven’s Piano Sonata Op.27, No.2 Moonlight forms a huge contrast against many climax sections in Fantasiestucke, Op.12. Moonlight has delicate, singing melody that moves slowly. It uses a rather soft dynamics to express the tranquility of moonlight. Another examples is Chopin’s Mazurka in B-flat Minor, Op.24 No.4. Altough the Mazurka has wider range, dancelike dotted rhythms, rubato expression and much chromaticism, still does not have that much excitement compared to Fantasiestucke, Op.12. In Fantasiestucke Op.12, Schumann not only implemented the strong dynamic and intense tempo, but wrote some rather soft sections as transitions. Those characteristics examplify Schumann’s music style: impassioned melodies, novel changes of harmonies and driving rhythms that reveal him as a true Romantism composer. Lydia has carried out such experience in high
Held as one the most important German composer before J.S Bach; eulogized by his German colleagues as the “Orpheus of our time” and “the father of our modern music”; known best for his sacred vocal music. This gifted maestro who attracted many souls through his compositions was a man named Heinrich Schütz. Heinrich Schütz is one of the most important composers of the 17th century, who greatly influenced German music. Schütz’s musical talent was discovered at a young age, which developed into an extensive musical career. Furthermore, Schütz’s compositions can be seen to have the influence of Giovanni Gabrieli and Monteverdi, and a focus on sacred music. Moreover, Heinrich Schütz’s piece “Miene Seele Erhebt Den Herren” really exposes his type of style and uniqueness as a composer.
The task of giving an overview of the life of Claude-Achille Debussy is not easy. Without hesitation, this dynamic character made courageous strides that pushed the limitations of music to another level. His ultimate goal was not to be glorified through fame but to find his own unique voice, or the ‘musique a moi’. Even though his goal was to create his own unique sound, he had many influences, such as art, literature, and Wagner, that guided him in the creation of his style. Regardless of his teachers protestations and fellow peers’ critiques, he experimented with different sounds in music. When listening to Debussy’s music, one can clearly tell that it belongs to Debussy because of his use of different harmonies, rhythms, the pentatonic and whole tone scale, and his instrumentation.
In the last line of the second stanza, the subject enters dramatically, accompanied by an abrupt change in the rhythm of the poem:
This project lets us know the sonata form was the popular form in the classical period. Analyze the music materials in Mozart’s horn pieces let us figure out the way that Mozart composed. The horn concerti that Mozart composed were interesting because even Mozart used some mocked word to Joseph Leutgeb; these concertos still are the compact music. Currently, the numbers of Mozart’s horn pieces were different because Köchel used the started time to number them that was not using the finished time that people always thought. Mozart’s works still finding out anywhere nowadays, so this list of Köchel catalogue still will be changed in the future. No matter in past or today, the Köchel catalogue of Mozart’s compositions still is an important research because, without him, we perhaps cannot find or organize these Mozart’s works clearly and
(24-27) By now the reader might ask him/herself why the Lady of Shalott is stuck in such a dreadful situation and why she does not attempt to do anything about it. There is a constant increase of tension attained by the use of iambic and trochaic tetrameter and an -aaaa bcccb- rhyme scheme repeating in each stanza. This is always interrupted by sudden drops produced by the plosive sound 't' as in 'Camelot';, 'Shalott'; or 'Lancelot'; in lines 5 and 9. The whole scheme could already be seen as an indicator of the omnipresent basic suspense of the poem.