Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
Essay on elements of music
Essay on elements of music
Essay on elements of music
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Recommended: Essay on elements of music
Amanda Hua
Dr. Todd Mueller
MUSC 1100
30 April 2017
Take Five Analysis In this paper, Take Five will be analyzed using four of the five elements of music, as well as other related facts. There are five elements of music that were taught in class; the four that will be used in this paper are rhythm, melody, harmony, and texture. Rhythm is the element of music that deals with the arrangement of sounds and silences. Melody is a collection of pitches that are played in succession. Harmony is a collection of pitches that are played at the same time. Texture is how melody and harmony are combined within a piece of music. The purpose of this paper is to analyze those four elements of music of Take Five, as well as provide other relevant and significant facts about this piece. The following are some facts that are important, but not quite falling under any element specifically. Take Five
…show more content…
In rhythm, there are levels of musical time: background, middleground, and foreground. The background time, or pulse, is the beat around which other rhythms are organized. A characteristic of the background time is the subdivision of a piece. In this piece, there is a triple subdivision, which is a characteristic of all jazz pieces since the music “swings”. The middleground time, which in Western culture is called a meter, is the level at which the background pulse is organized into patterns, or accented and unaccented notes. In Take Five, the rhythm is not a usual 4/4 measure; it is a 5/4 measure. There are five beats in a measure, which is a hint to the Five in Take Five. Foreground time, the last level of musical time, envelops all the complex rhythms that happen on top of the meter and pulse of the music. In this piece, the foreground time is the emphasis on beats 2 and 4, which is called a backbeat. In Take Five, the rhythm is played by the drums, which begins the
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
... began the piece, and the beat of the drum was frequent. After the introduction, the rest of the musicians joined. The pianist also had a solo part with the companion of the drum. The pace of the song was moderately fast, and the song ended with a climax.
The fifth song was a ballad called “Last Night When We Were Young.” This song had a relaxing and romantic sound. It had a steady and constant tempo. The bassist also used the pizzicato technique during his solo in this piece.
Analyzing the intervals between sections and tying them into a larger perspective would be another way to explore this piece. Takemitsu seems to favor an emphasis on the 4th interval: the last note of system 5 (E-flat) to the first note of system 6 (A-flat), the last note of system 8 (G-sharp) to the first note of system 9 (D can also be spelled C double sharp to create an augmented 4th. Given this compositional style, examining the relationship of 4th intervals to tritones may be beneficial. The use of tritones can be seen both in the written notes and in some instances of multiphonics, for example towards the end of system 5 (A and D-sharp). Tying this into a larger perspective would also address the importance of the 026 pitch class set. Since the distance between 0 and 6 is a tritone or an augmented 4th, trying to connect tritones to fourths may perhaps shed light on the importance of the interval in this piece. Another topic of interest is how to divide the piece into musical sections. Although the composer places rests and holds at the end of the phrases, an overarching idea seems to group these ideas together into an entity by the organization of pitch class
The 1960s was a period well remembered for all the civil rights movements that occurred during that time frame and the impact these movements had on the social and political dynamics of the United States. The three largest movements that were striving in the 1960s were the African American civil rights movement, the New Left movement and the feminist movement. These three movements were in a lot of ways influenced by each other and were very similar in terms of their goals and strategies. However, within each of these movements there were divisions in the way they tried to approach the issues they were fighting against. Looking at each of these movements individually will reveal the relationship they all share as well as the changes that were brought forth as a result of each groups actions.
English 101 is one of the most common college courses in the world. When I enrolled in the class, I was bothered that I would have spend forty hours in a freshman writing class; along with at least another forty hours throughout the semester writing for the class. What surprised me, was that when I began writing my essays I was not annoyed or bothered; I actually enjoyed the assignments. Most importantly, throughout the course of the semester, I have become a better writer and have ultimately met the course goals of English 101.
The term Jazz gained notoriety in 1914 as a form of music. Before it gained attention, its origin consisted of an “African rhythmic, formal, sonoric, and expressive elements and European rhythmic and harmonic practices” (4). Jazz form included a “call-and-response pattern, repeated refrain concept, and chorus format of most recreational and cult dances” (27). The fact that these elements made the transition to early jazz and survived today showed that it had a solid foundation ...
Overall time helped demonstrated the masses’ movement unity as they moved with the time and the individual’s struggle as she moved contrary to the group’s time. The dance began with a lively Bach movement, which created a feeling of excitement as the mass of dancers moved with increasing speed. The short duration needed to complete movements, regularity of the music, and repetition of dance patterns of the group established their synchronization with time. In contrast, this allegro tempo created a nervous, rushed feeling for the individual woman, which established her contradiction to the groups perception of time. The sharp, sudden adagio tempo change in Part 2 created an uneasy mood, while establishing distrust and tension between the individual woman and the masses. The stillness of the mass dancers in response to the woman in Part 2 exemplified this segregation. As the tempo slowed in Part 4, an element of sadness and isolation was apparent in the individual woman’s movement. In contrast, this tempo change for the group created an intimacy between the individual heterosexual couples. This intimacy further isolated the individual women and demonstrated her movement against groups perception of time. The changes in tempo of music and dance movement complimented the third element of dance, dynamics or
The texture is polyphonic. It has a slow tempo and there is no presence of accelerando or ritardando. Harmony is a consonant of the word. Melody is conjunct and peaceful. Has a lot of repetition.
Measure twenty-seven adds suspense to the piece because of the silence from most of the orchestra. In measure twenty-nine there an ostinato, taken over by cello and bass in measure thirty-one. The intro to section B lasts until measure thirty-four. Measure thirty-four has a rhythmic motif made up of a dotted quarter note followed by a eighth note. This motif is seen in measure thirty, forty,and fourty-three.
a. a. a. a. a. a. a. a. a. a The New Oxford Companion to Music. Vol. 1. What is the difference between a. and a. Oxford: Oxford University Press, 1983. Print.
The rhythm in this piece is a combination of triple and duple; this combination can be clearly seen in the tenor line because it alternates between the two rhythmic styles for about five measures in middle of each talea (repeated rhythmic pattern). (Simms,
However, it becomes more prominent in the middle of the song when the drums begin. This also gives it a flexible sounding tempo. The beginning and ending of the song sound much slower than the middle when all the instruments are playing together. The song contains what sounds like a duple meter which is easier to hear in the middle of the song thanks to the more prominent beat. For me, I hear two melodies that are easy to remember.
In design, you can also think of rhythm as the beat, but a beat established by visual elements such as shape, line, colour, texture, than by sound. Rhythm is a pattern that is created by repeating elements and creating a sense of movement from one element to another. When you draw evenly spaced vertical lines on a page you establish a steady rhythm. Movement-Elements should be arranged so that the viewers eye flows from one element to another through the design. Movement and rhythm often go together.
Beethoven’s fifth symphony is the piece which I will be completing my critical analysis on. To begin, there are many different types of classical form in music. This particular piece would be considered under the Sonata Form. The Sonata Form which is also known as sonata-allegro form is a form of organization that is based on contrasting the composer’s musical ideas. The pieces contain three main sections which are exposition, development, and recapitulation.