Essay Paper on Philip Glass Music There’s no doubt that Philip Glass is the world’s best known living composer. One of the creators of minimalism, his swirling, propulsive style has had a tangible influence on almost all elements of the modern musical vocabulary, from academic composition to the music heard in TV commercials. Glass’s far-reaching influence can be heard in the rock music of “such seminal artists as David Bowie, Brian Eno, Tangerine Dream, King Crimson and the Talking Heads.” Moreover, Philip Glass’s operas have permanently altered the direction of musical theater, and with their nonlinear structure and multimedia breadth. In fact, they even challenge the concept of opera itself. Because of this some enthusiastic critics have compared Glass to Wagner.
Beethoven’s music was heroic in tone while Schubert’s music was said to allow the “poetic work of art to shine through and illuminate”. Finally, Schubert had a deep respect for
Neoclassicism is music inspired by the classical era during the early 20th century. It uses classical elements such as the forms and tonal center, adding to the classical structure with modern chromatic elements and use of dissonance. As well as varied rhythms. Ernest Bloch was both neo-classic and neo-romantic, his virtuosity on violin lead to many arranges for the the solo instruments of classical and romantic composers, his fascination with that time period is evident in his music, using classical form with romantic expression. Maurice Ravel, although often cited as an impressionist, is also listed as a neo-classic composer.
This created the emergence of a common musical style. Composers started quoting American hymns, spirituals, jazz, popular music, and traditional song and dance. The question now was which genre of composition would be used to show off this new American style. Composers and critics both agreed that the symphony would be used to compose the greatest American work. The symphony was chosen because symphonies are the “supreme testing ground for greatness.”
Opera in the Baroque Period Opera is an aesthetic art form of the highest quality because it incorporates music, literature, acting, dance, costumes and scenery all delivered through a performance. Opera was created to unify words and tones, play and music. But what are the origins of opera as we know it today? To answer this question one has to go deep into the roots of music history, specifically the baroque period (1600 – 1750). The setting of opera is credited to a group of intellectuals to whom history has given the name of the Camerata.
The title, in French, means “What one hears on the mountain”, it is sometimes referred to as “Bergsymphonie”, and “Mountain Symphony” in German. Liszt’s most popular symphonic poem is “Les Preludes”, inspired by Lamartine’s prelude to the cantata “Les quartre elements”. As a conclusion, while Liszt made his mark on the history of music performing and composing for piano, his contribution for the symphonic poem was immense. Works Cited "Symphonic Poem (music)." Encyclopedia
Jessica Crupi 2371771 HUMN 3B02 Lee Slinger The Romantic era was a period of war and revolutionary combat. War and rebellion were essential elements that influenced the flow of ideas in this period. An entire generation of European writers, composers, and artists were influenced by these events. War inspired romantic artists to address themes of liberty and democracy, while considering the function of revolution as an opportunity for political and social change. Writers used the spirit of the revolution to distinguish their poetic sensibilities.
Mozart’s “Dies Irae” Analysis Project Mozart’s final composition, The Requiem Mass in D Minor, containing “Dies Irae,” was one of his most powerful and commended works. Composed in 1791, and later completed after his death, the choral work is very heavy, for it deals with the Day of Wrath, when God will descend upon the earth from the heavens and place judgment on all its inhabitants, either granting salvation or eternal damnation. Mozart’s “Dies Irae” is so profound because the music and text are in a symbiotic relationship. “Dies Irae” bursts with volcanic force, later intensified by divergencies in tonality throughout. Mozart capitalizes on the tone of the work by conceiving it as an unearthly squall, incorporating rapidly indeterminate piano interludes and chromatic choral passages.
The whole of Wagner’s works from 1850, the year Wagner published the infamous essay Das Judentum in der Musik, onward, incorporates his revolutionary theories concerning social issues and reveals him to be similar to his contemporary audience, a member of his culture steeped in beliefs that characterize him as anti-Semitic. By using the body, Wagner was able to evoke certain associations linked to the corporeal in his culture, which gave his ideas a degree of merit to his contemporary audience. It is only with the cultural context of Wagner’s time, that anti-Semitic implications of the music make sense. The associations connected to Wagner’s music, is not necessarily those of today. Specific key (tonality) are associated with specific dramatic configurations, moods or meanings.
Both the vocal and piano editions of the three Liebesträume (Dreams of Love) were published simultaneously in 1850. Liszt referred to the triptych as notturnos and they were modeled on the examples set by Frédéric Chopin. Each deal with a particular aspect love: the first, based on poem by Ludwig Uhland speaks of religious love; the second, also by Uhland, of romantic love; and the third, by Ferdinand Freiligrath, of the brevity of time given to love and a warning of lost love. This last has become one of Liszt’s most famous and oft-performed works, even usurping solely for itself the title of Liebestraum to the near neglect of its siblings. The piano solo version of the third Liebesträume borrows freely from the original lied—some passages are lifted straight from it, while others are certainly more pianistic and appropriately adapted to the altered setting.