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Essay of civil war in russia
Introduction of essay russian civil war
Introduction of essay russian civil war
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Shostakovich was born in St Petersburg in 1906. His mother who was a pianist guided him through his early music experiences. By the time Shostakovich wrote the Preludes Op34, the Soviet society had experienced much distress and disorder. Going through the repression of civil war and during the period of cultural revolution where all kinds of arts are under the ideological barrier of socialistic realism, majority of the music was written with a controlled, nationalistic flavor. Bach and Chopin are major influences in this prelude.
Shostakovich’s Preludes Op 34 was a combination of both beauty and destruction. The use of derailment is Shostakovich’s style. He used non harmony notes and altered chords yet the music remains lyrical and beautiful.
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Prelude no 5, nicknamed ‘Velocity Etude’, features running semiquavers, in 2/2 time, with no fixed form.
It requires dexterity of the fingers for clean articulation.
Prelude no 19, with a song like melody and the style of accompaniment suggests a Barcarolle, typical of songs of the gondoliers in Venice Italy. The harmonic accompaniment resembles the rowing of the boat through the waves of the water. This melody uses chromatic modulations, proficiently disguised that is it hardly apparent to the ears. He also used unusual articulation and syncopation. This prelude displays Shostakovich’s polyphonic approach. The creative work by Shostakovich is made up of both exotic melodic patterns, as well as a conservative western
accompaniment. I find these pieces of contrasting musical personalities. Prelude no 5 requiring more attention to ensure the clear accurate articulation. I enjoyed the slower paced, relaxed style of prelude no 19 with the harmonic surprises, pushing the music to climax.
The first movement felt as though it was the beginning of a riddle sure to be solved later in the symphony. It began with a sense of suspense with all basic elements of music: tonality, melody, and rhythm. The entire first movement was of an established sonata, between all instruments. However, what caught my attention was the mumble of the low strings which erupted into violins. I was on the edge of my seat for what was to come.
Each time I read The Awakening, I am drawn to the passage on page 69 where Edna and Madame Ratignolle argue about “the essential” and “the unessential.” Edna tries to explain, “I would give up the unessential; I would give my money, I would give my life for my children; but I wouldn’t give myself.” What most would see as essential—money (you need it for food, clothing, shelter, etc) and life—Edna sees as “unessential.” Edna is speaking of more than that which one needs for physical survival; she would not hesitate to give her life to save the life of one of her children. On the other hand, Edna’s being, her “self,” is something quite different from her physical form.
Seyersted, Per, and Emily Toth, eds. A Kate Chopin Miscellany. Natchitoches: Northwestern State University Press, 1979.
...ers and the audience. The dramatic nature of this piece alone is something to be reckoned with as it is extremely passionate. The symphony is presented in 4 movements as is common and begins with a Poco Sostenuto- Vivace, followed by a Allegretto movement, Presto movement, and finally ends on an Allegro con brio movement. the central theme of this piece is introduced in the first movement by a flute playing in tripple meter continuously ascending up the scales rising in dynamic contrast, continuing to grow into a louder and more stark contrast between it’s highs and lows. Consistently dance like, the piece is celebratory of its roots buried in historical Austrian music that has been present in the culture for years. The accomplishments of the soldiers for which the piece was composed for are easily told of simply by the energy and power present throughout the piece.
As this passage commences, Chopin, through Edna’s thoughts, describes the seemingly endless sea that presents itself before her. Edna, through personification, shows the intimacy of her relationship with both nature and the sea. This large, “[…] never ceasing […]” (Chopin 139) body of water has entranced and enthralled Edna to the point where she is now beginning to see this natural element that amazes her so much as the only option left to her in life. Chopin reveals these intentions to the reader by describing the sea as “[…] inviting the soul to wander in the abyss of solitude” (Chopin 139). The word abyss in itself leaves the reader the impression of a mysterious place in which one might not return from; and it is later implied that Edna accepts this sensuous invitation from the sea.
Prior to the competition, he had had a far greater success as a composer with the First Symphony (1924-25), which quickly achieved worldwide recognition. The symphony was influenced by composers as diverse as Tchaikovsky, Paul Hindemith, and Sergey Prokofiev. The cultural climate in the Soviet Union was, compared to the Soviet Union at its peak, free at the time. Even the music of Igor Stravinsky and Alban Berg, then in the avant-garde, was played. Bela Bartok and Paul Hindemith visited Russia to perform their own works, and Shostakovich toyed openly with these novelties. His first opera, The Nose, based on the satiric Nikolay Gogol story, displayed a thorough understanding of what was popular in Western music combined with his "dry" humor. Not surprisingly, Shostakovich's undoubtedly finer second opera, Lady Macbeth of the Mtsensk District (later renamed Katerina Izmaylova), marked a stylistic retreat. However, this new Shostakovich was too avant-garde for Stalin.
The 24 Préludes (Op 2) are often compared to the Préludes of J.S Bach's Well Tempered Clavier and although both sets are similar in many ways, Chopin's are not meant as introductory pieces as Bach's, which are designed to lead into fugues, as they stand strongly on their own as poetic miniature piano pieces.
It has a very nice combination of the woodwind and violin. The music goes slow for first three minutes and suddenly it goes fast with the sound of violin and slows down again with the melodious sound of the flute and violin and repeats again giving the feeling of nature and after eleven minutes it is in very high notes. And again, from the 14 minutes, begins the second movement with the melodious sound of violin followed by other instruments. This part is very sad and attractive part of the orchestra too. It feels tragedy and sad music. The music is slow and in low notes. The flute in the fourteen minute is so attaching and alluring. I felt like listening to it again and again. The third movement then begins from twenty-three minute which also feels sad music. It reminds me of the good old childhood days. After the thirty minutes comes the most powerful and weighty part that is the fourth movement. It ends comfortably in F major. Among the four symphonies by Johannes Brahms, I liked the Symphony no.3. And I would like to thank Mr. Madere for giving us with such assignments which help us relax and get free from our
Chopin’s third sonata is a masterwork filled with pianistic elements, daring harmonies, experimental form, and a wealth of expressivity. In this four-movement work, references to other Chopin compositions and influences from fellow composers are found. At the same time, there is a progressive element; it looks forward to the heights which would be achieved by Chopin and later composers.
The preludes which Bach composed were unique to his name, and contained a number of complex and awe-inspiring sections. His preludes were usually composed using a single rhythm and some sort of arpeggio. Such preludes are sometimes tiring and exhausting on the listener's ear, because they seem unending and ruthlessly written. Bach's consistent use of a busy but regular rhythm creates a driving force throughout the piece, and is known as motor rhythm. While the general public may rece...
With exquisite mingling in sound of quiet and agitation, fluidity and interruption, with a gorgeous melody of cautious, tightly contracting circles and sudden leaps into space, Chopin, the subtle-souled psychologist, opens his waltz. How does Chopin speak through his waltz? How does the music play the listener? Minds think through forms. Form follows content. Music’s structure matters. In Chopin’s Opus 69 No.1, the AA’BA’BA’CCDCDA’ structure of reoccurring themes uncomfortably prolongs the inevitable return of the tragic first theme which the audience does not want to hear but expects to hear anyway.
...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.
This is nowhere plainer than in Shostakovich's cello concertos, where the weeping of the cello contrasts with the harsh shrieks of the woodwind. Shostakovich wanted to create a piece whose exultant defiance and bitter sorrow sent a chilling message to the world. Composed for the great Russian cellist, Mstislav Rostropovich, the first cello concerto subdivides into four movements. To Shostakovich's astonishment, Rostropovich mastered and memorised the entire work in just four days.
Tchaikovsky is one of the most popular of all composers. The reasons are several and understandable. His music is extremely tuneful, opulently and colourfully scored, and filled with emotional passion. Undoubtedly the emotional temperature of the music reflected the composer's nature. He was afflicted by both repressed homosexuality and by the tendency to extreme fluctuations between ecstasy and depression. Tchaikovsky was neurotic and deeply sensitive, and his life was often painful, but through the agony shone a genius that created some of the most beautiful of all romantic melodies. With his rich gifts for melody and special flair for writing memorable dance tunes, with his ready response to the atmosphere of a theatrical situation and his masterly orchestration, Tchaikovsky was ideally equipped as a ballet composer. His delightful fairy-tale ballets, Swan Lake, The Sleeping Beauty and The Nutcracker are performed more than any other ballets. Swan Lake, Tchaikovsky's first ballet, was commissioned by the Imperial Theatres in Moscow in 1875. He used some music from a little domestic ballet of the same title, composed for his sister Alexandra's children in 1871.
Mozart’s use of melodic contour and repetitive rhythmic motives make this piece feel very connected throughout. He begins with a two eighth note followed by two quarter note pattern. This pattern is repeated twice more until finally at measure four a new melodic and rhythmic motive is introduced. At measure four a retardation occurs using a half note to delay the resolution to the quarter note, drawing out the resolution as much as possible to create a sense of relief upon arrival. This pattern of three measures of motive “A” followed by...