Abstract This essay is concerned with understanding the key issues relative to portfolio analysis and investment. The scope of this essay will be limited to the U. S. Stock markets only. This essay will be built upon extant portfolio theory and will discuss different types of risks that investors might face and how they go about managing such risks. Under consideration will be topics such as efficient frontier and optimal portfolios as well as their relevance to investment theory, under the assumption
Schubert was inspired to write the quintet in 1819 while staying with a friend who was an amateur cellist. Schubert wrote out the parts while he was there, so it is likely that the friends performed it as soon as it was written. 'Die Forelle' Key: Db major Structure: Binary structure A :|| B Phrasing: 16 bars in each section Musical characteristics of song melody: Four 4 bar phrases in each section, simple melodies and some repeated rhythms. Theme In the theme of 'Die Forelle'
vain pour éviter”, Carmen discovers that both her fate and Don José’s are sealed with death, and as she tries to avoid it, she realizes it is inevitable. George Bizet mimics Carmen’s attempted elusion of fate through the use of secondary chords, relative keys, and extensions of the dominant function, as to avoid tonic, which represents her death. In addition, Bizet manages to establish a sense of ambiguity to Carmen’s view of her fate through unusual progressions and breaking of sequences. (Encyclopaedia
The first thing that the listener notices upon the beginning of the song is the aura of tension that is displayed. The beginning starts off slowly and crescendos until the feeling is resolved. Immediately after violins start to sound erratically. The aesthetic of “Winter” paints the aesthetic of a man leaving the safety of his home and searching for firewood in the harsh winter. The turbulent violin runs represent the fierceness of the storm and the struggle to survive it. The constant sounding of
has many different forms but Mendelsohn used Sonata form for his Hebrides overture (a common decision to make in this Classical period). It could be argued that Sonata form is indicative of Mendelsohn's relative conservatism as it has a fairly strict pattern to follow, both in terms of form, key and temperement: It is clear that Mendelsohn did indeed use three contrasting passages with the addition of the 52 bar long Coda (normally a more brief concluding passage at the end of a work). Sonata
and then to their eventually understanding their levels of importance in the world. The major and minor keys in music are used to represent and characterize different contrasting emotions. The major key is used to represent feelings of happiness and a completed event while the minor key is associated with sadness discord or lack or resolution of an event (Mansfield 516). Together, the two keys complement
independent episodes, one in the tonic and the other in its relative minor. The Adagio movement is rich in ornamentation. A written-out cadenza is designed to for the trio. The finale Prestissimo returns to sonata form in a rocking ... ... middle of paper ... ...to one masterpiece. When listening to the piece, the music struck me as similar to story-telling. The Adagio opened the Fantasy with a dark, overcastting atmosphere. His use of key (C minor in this case) sets the mood unmistakably. The main
Schubert’s setting of Goethe’s poem, “Gretchen am Spinnrade,” is evocatively beautiful and menacing – an ominous feeling of overwhelming melancholy and love’s fateful delirium. The lyrics are in stanzas of four and are in strophic form. Schubert’s D Minor setting is through-composed and accordingly illustrates the sorrowful feelings of Gretchen. The first stanza, “Meine Ruh’ is hin, Mein Herz ist schwer, Ich finde sie nimmer Und nimmermehr” following the third and sixth stanzas transforms, not into
This paper analyzes Giuseppe Verdi’s 1851 opera, Rigoletto, from the perspective of J.B Thompson’s model of media analysis; focusing on two particular scenes, as seen in the 1977 production directed by Kirk Browning. The two chosen scenes are Povero Rigoletto, from Act 2 and Bella Figlia dell’Amore, from Act 3. First, each scene will be described contextually, to be followed by structual analysis that will attempt to ascertain the intention of the artist. Leading into Act 2, Scene 2, the courtiers
ballade. Example 1 Largo - Chopin Ballade in G Minor, Op. 23., Nr. 1  In the opening of the ballade, marked Largo in 4/4, a low C2 octave claimed by both hands ascends rhythmically by eighth notes through the Neapolitan (A-flat) of the intended key of G minor to a high C6 and descends through a written diminuendo into F-sharp, the leading tone of G minor. As the opening statement descends, its message is interrupted by a three beat rest which halts on a dubious E-flat Major 7 chord. This chord
"America". Bernstein uses sudden dynamics within every section including the final dance break. Pianissimo is used in the woodwind at the beginning of D2, and a huge tutti crescendo brings us into the final repeat of the main tune with the key change to E major. In conclusion, to analyse this essay I have scrutinized the melody, harmony and rhythm as these are elements that make this piece so popular. Included with the dynamics, articulation and use of texture, they all successfully
from the Indo-European root “-mudh,” which is related to the Greek “mythos.” The duma, an epic, or ballad-like narration originating in Ukraine around the 16th century, has undeniable connections to the epic poetry of the ancient Greeks, but there are key differences in its structure and performance style. Instead of having a set strophic form, the duma depended on the contents of its narrative to determine the lengths of its discrete sections. The lyrics were recited in a lamenting, recitative, and
ANALYSIS of L.V.BEETHOVEN: SONATA NO.7 IN D MAJOR, OP.10 NO.3, PRESTO General Information: • L.v.Beethoven’s Piano Sonata No. 7 in D major, Op. 10, No. 3, was dedicated to the Countess Anne Margarete von Browne, and written in 1798. • The Opus 10 sonatas are usually described as angular or experimental, as Beethoven began moving further and further away from his earlier models. This is also apparent in the structure and layout of this particular sonata. The Analysis: The very opening of the
The Overlooked Richness of the Recitatives of Bach's Cantata 78 In "Expressivity in the Accompanied Recitatives of Bach's Cantatas," George J. Buelow writes that although many of the distinguishing properties of Bach's music have been studied over the years, few scholars have examined Bach's recitatives or have given them proper credit. He notes that these recitatives generally either are ignored by musical scholarship or are briefly discussed with "general errors" or "confusion." 1 For example
In Chopin’s lifetime, he totally wrote twenty seven fabulous piano etudes (three of them were without opus numbers) which were abstruse piano playing technique and valuable artistry. For most pianists, it is not an easy work to deal with these pieces well since they require the pianist to grasp the exquisite piano playing technique. How do we train our fingers more flexible to apply to these works? After all most pianists are not talented as Horowitz, so we have to go through some tough practice
our ears to listen to aesthetic notes when, in reality, it is D to A to D. Despite the key conceptualizing in d minor, many, many accidentals take place within the piece. As a result, how does someone know which notes are more important than others? Is it D because it is tonic? Is it C-sharp because it is the leading tone to tonic? Or could it possibly be the accidentals because they do not originate from the key? This may sound ambiguous, but the answer is…it depends. The reason why this is so, which
Mozart k310 sonata (2nd movement) Analyzation The 2nd movement of the Mozart k310 Piano Sonata resembles standard sonata form in many ways. It opens with a first theme in F (same as key signature). The theme is four bars long; two bars of antecedant, two bars of consequent. Mozart then starts the first theme again with a 32nd note run pick-up instead of the 16th note arpeggio pick-up in the the begginning of the piece so we are prepared for variation in the second statement of the first theme.
direction, sounding out three more minor chords that bear no relation to one another. The resulting sound isn’t just unusual. Since the progression is curious, it creates an aura of wonder as well. Melody While the first five bars are entirely in the key of E minor, the sixth bar introduces a note foreign to it, F natural. These same intervals are also heard in bars 13-15, now with an extra intervening note. A section’s phrase thereffore end with these strange intervals, which helps impart an air of
In Act III, scene 1 of his opera Wozzeck, Alban Berg employs his take on a theme and variations. When one hears that a piece of music is classified as an “invention on a theme,” they immediately associate the style with early composers from the Baroque era, a time when classical conventions truly started to take their form. By employing methods of long term tonicization, bending the classical expectations of form and harmony, and accentuating Marie’s sense of wandering conscious and morality, Berg
FIRST MOVEMENT The first movement begins with the cello. Shortly afterwards, the viola, second and first violins enter successively in a canonic treatment of a four-note motif: D, E-flat, C and B. In German musical notation these notes are written as D, S, C, and H. Shostakovich used these to stand for his initials in German transliteration: D. Sch. (Dmitri Shostakovich), also pronounced as “De-Es-Ce-Ha." Later in the movement, a quote from the opening of his First Symphony (1926), is heard,