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How is rhythm used in the control of tension and repose?
I-Introduction
Music has Expectations and surprise - tension and repose –Who controls it?
First in order to find what controls- what is tension and repose? Tension in music is the part where the simplicity of music goes past our comfort zone. Past our regular expectations and into surprises-creative, varied and complex yet simple sounding parts of music. Repose is the opposite and neutralizes the tension- where the composer places certain parts/facts/things to soften the blow. So what can be used to control tension and repose – rhythm.
How is rhythm used in order to control tension and repose? Simply by creating tension. Rhythm then has the power of diminishing, building up or simply
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Pace as defined by Funes in Chapter Three of the Musical Deelopment the second Edition
“rate of activity for any musical element, perceived in relation to some norm.”
A. Essentially pace is the speed of how the music is being played. How does this control tension and repose? Well, basically if we have a piece of music and it has a consistent pace or speed we are in our comfort zone- no tension and therefore no repose- but what if we abruptly change pace? This purposely creates tension. How pace can control tension is by creating or eliminating tension. And repos can be controlled by creating the problem, which is tension, and then reverting back to our comfort zone-the original pace we began with or similar.
B. As see in example 3.3 it shows a great example of controlling tension and repose- the music begins with an unexpected fast bright starting pace -therefore a surprise, which creates the tension. Pace then continues to control as it brings in repose by beginning a regulated slower pace coming from the background. A little later in the excerpt it demonstrates if we want to lead the music to an accelerated speed without an abrupt change which will create stronger tension, the background music can begin a gradually faster
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Pace can control tension and repose by creating or dissipating tension just by changing the pace of music.
2. Tempo
A. Let us begin to explain how tempo can control tension and repose as well. Naturally something in us needs to control and keep time – the pulses from a tempo give us that disapline- and as Funes says something to tap our foot to. Therefore when a piece of music does or doesn’t have a strong tempo, it creates or doesn’t create tension, in turn controlling.
B. As seen in the excerpt 3.6 sonny Rollins, “I Got it Thad” it, there are strong regulated pulses- it creates a basic pulse – we can tap our foot to it, nothing past our expectations. Another example with is alittle varied Ex. 3.8 Ludwig van beethovens Sympthony number one.1, First Movement, is creates an amount tension as a strong steady pulse isn’t easily heard at first by the listener(which causes tension), however later the violins create regulated pulse with then creates the repose!
C. In summary pace and rhythm can control tension and repose, just by the placement of themselves- which is decided by the composer.
D. Now, leading into meters –meters are needed in order to control tension and repose as pace, tempo and meters all depend on one
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.
Music connects to the emotions present
...phasizes the need to slow down and take the time to just think and discuss.
Its pendulum swung to and fro with a dull, heavy, monotonous clang; and when the minute-hand made the circuit of the face, and the hour was to be stricken, there came from the brazen lungs of the clock a sound which was clear and loud and deep and exceedingly musical, but of so peculiar a note and emphasis that, at each lapse of an hour, the musicians of the orchestra were constrained to pause, momentarily, in their performance, to harken to the sound; and thus the waltzers perforce ceased their evolutions; and there was a brief disconcert of the whole gay company; and, while the chimes of the clock yet rang, it was observed that the giddiest grew pale, and the more aged and sedate passed their hands over their brows as if in confused revery or meditation. But when the echoes had fully ceased, a light laughter at once pervaded the assembly; the musicians looked at each other and smiled as if at their own nervousness and folly, and made whispering vows, each to the other, that the next chiming of the clock should produce in them no similar emotion; and then, after the lapse of sixty minutes, (which embrace three thousand and six hundred seconds of the Time that flies,) there came yet another chiming of the clock, and then were the same disconcert and tremulousness and meditation as
Music’s influence is felt everywhere and it brings about a stir of emotions in many people. Whether it is something as simple as relationship trouble or something deeper and more profound, such as one’s cultural history, music serves as a stimulant to the mind and in other ways, a stimulant to the body. Such music as country, rock, reggae and Zydeco all succeed in stimulating the body and convincing it that dancing will only increase the satisfactory feeling that the music tends to give off.
For example, when describing the upbeat tempo and movement of the performers, Sakakeeny interrupts his description of the scene with a quote from Kieth commenting that he thinks that “it really does go back to second line dancing,” opening the doors to one of the pivotal details in the minds of the musicians. Furthermore, this pause in the scenic description provides a smooth transition from the actions of the musicians to the reasoning behind them. “We try to play continuous to keep everybody going, to keep the energy rolling” adds Philip Frazier. Finally, once this evidence is provided, Sakakeeny begins to draw conclusions based on already substantiated claims by saying “There is not a single tempo that generates audience participation in
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
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
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.
Although Beethoven’s Fifth and Sixth symphonies sound very different, they both originated during the same time period and are closely related in many ways. In the first movement of the Fifth and Sixth symphonies, the relationships between the two can already be identified. While their similarities reveal the new ideas that Beethoven wanted to use in his symphonies at the time, their differences reveal the different paths that Beethoven chose for each symphony. Though the first movements of the Fifth and Sixth symphonies are similar in their use of meters and fermatas, the movements of the two symphonies differ in their topics, harmonic ranges, and endings.
..., intensity, and length. The entire movement had a feeling of rising to a maximum point which could not be surpassed. In the third movement the flute and the piano played together and played nearly the same thing, with the exception of the flutes higher notes. This to had an increasing in intensity and tempo.
Emotions are easily affected by outside forces. Music can provoke emotions of sadness, grief, joy, and even ecstasy. There are several different aspects of music that change how a song is interpreted. From these interpretations come emotions. Among them is the tempo, which is the speed of the song. If a song is sad, the tempo is often slower. If a song is meant to be happy, the tempo is quick and light. If the intention of a song is to bring about fear, it is either extremely slow and eerie or quick and adrenaline pumping. Another factor of interpretation is the key it is in. A key is, “a particular scale or system of tones” (Dictionary.com). There are 24 different keys that are separated into two categories. These categories are major and minor. The major are made up of more sharps, and the minor of more flats. The major key is used to express feelings of joy and happiness. The minor key however, is used to express feelings of sadness, depression, and regret. When the two are awkwardly combined, the key of the music changes to neither minor or major, and is referred to as a dissonance. A dissonance is defined as, “a simultaneous combination of tones conventionally accepted as being in a state of unrest and needing completion” (Dictionary.com). When a passage of music uses a dissonance, the ultimate goal is to create ...
The third piece of the concert, Beethoven’s Symphony No. 7 in A Minor, Op. 92 is a wonderful piece of Classical musical art. Comprised of four movements, the Poco sostenuto – Vivace, Allgretto, Presto – Trio I and II: Assai meno presto, and the Allegro con brio, the symphony follows the traditional four movement form. The first movement, the Poco sostenuto – Vivace, sets the stage for the rest of the performance with its lively rhythms as the result of a sonata form vivace and repetitive passages of the coda. The second movement is slightly slower than the rest of the movements.
The final two instances demonstrate the extreme emotional power that music holds over the lives of individuals. In defense of his bond with Antonio, Shylock invokes animal imagery as a strong emotional defense against the forfeiture of his bond. Perpetually invoking these images, Shylock also includes a line which states, “when the bagpipe sings i’th’ nose; Cannot contain their urine; for affection; Mistress of passion, sways it to the mood” (4.1.49-51). Shylock recognizes the immense power that music has over emotions. Music is able to bypass all cognitive faculties and permeate the deepest fathoms of our emotional capabilities, thus exploiting them. To find music included in a passage riddled with animal imagery permits a reader to understand the intensity of music, being a conduit that can access an individual’s deepest fears. Fear is the inherent system that drives animals to survive, much like the way it drives Shylock to maintain his way of
...ide of people, which is generally excited by happiness in the central case (Matravers 174). Music is not the whole part of the feeling; it just causes it (Matravers 174). When the volume from the music goes up, emotions will rise (Matravers 174). As the music goes down, the emotions decline as well (Matravers 174). The connection between music and emotions are similar to a mirror (Matravers 174). Whatever happens to the music, the human feelings will follow.