Jacques de Liege objected to the Ars Nova and defended the “ancient art”. He believed that the people appreciated and enjoyed the ancient motets and the ancient manner more than the new. Many arguments were made against the “new art” Ars Nova. Motets were the initial musical works by Philip de Vitry to represent the Ars Nova. The motets sung in Latin used isorhythm creating equal rhythm throughout.
In the next few bars, Beethoven implies key changes very frequently: In bar seventy-seven he implies G minor because of the F natural and E flat. In bar seventy-nine he suggests C minor due to the E flat. In bar eighty he suggests B-flat major due to B flat and E flat. The codetta starts at bar eighty-eight and is in G major. The codetta is the same as the first subject with a slight development.
After a repetition, the tonality changes to “C major”, but it is still in A section, which refers to theme one. Accordingly, the A section embraces binary sections. Then, the B section begins with a “short- short- long” motive in an “A major” key. After raising two themes, the C section starts by changing key to “f# minor” key which is the subordinate key of “A major”. Then, begin with measure number 58, the B section returns followed by a repetition of an A section.
Comment on how Schoenberg uses the following musical elements in this piece Tonality and Harmony Melody Rhythm Texture Timbre Peripetie is an atonal piece. This means that the piece has no key. The piece uses a lot of dissonant harmonies as well as most of the chords and melodies are often built on hexachords. The texture is mostly Polyphonic with the odd monophonic and homophonic bits. Schoenberg uses a lot of techniques to build up the texture and make it more interesting and more complex.
The two chromatic notes [notes not in the original key] of a sharpened 4th and a flattened 7th appear in both keys, and the vocal melody ends on the flattened 7th of D major [C natural]. The augmented 4th interval [forming a tritone] is used frequently in West side Story. The flattened 7th is a blue note [the influence from jazz]. The harmony is tonal, but the chords contain added 6th,7ths, 9ths and 11ths. There is a dramatic neopolitan chord [the flattened supertonic- Eb major 1st inversion] in bar 95.
In order to trace the earliest stages of its development we must rely on theoretical treatises. The technical descriptions of part singing, that establish its distinguishing name, organum, can be found in theoretical works by the ninth and tenth centuries, but we find in them no signs of the prehistory or an attachment to any particular region. Conversely, these treatises describe and systematize practices that may well have been widespread and could be considered a custom, not a novelty. Two of the most important treatises of this period are the Musica enchiriadis and the Scolica enchiriadis (both anonymous, 9th century treatises). These treatises describe different types of organum, which can be divided as strict or parallel organum, when it is based on parallel motion of certain fixed intervals, with or without doubling at the octave; and the second, known as free organum or modified parallel organum, where the opening or closing sections are not restricted to one interval.
“Manteca” by Dizzy Gillespie is not really that exiting music. The mood of the music is relaxed but also have loudness. I think there are seven choruses total. Each chorus were giving different feeling and rhythmic expressions. The solos were amazing.
Structure • Sonata form – repeat of the exposition was predominantly used in the classical period • Exposition x 2: o 1st subject – b.1-43 o Bridge passage – b.44-58 o 2nd subject – b.59-94 o Codetta – b.95-124 • Development – b.125-247 • Recapitulation: o 1st subject – b.248-287 o Bridge passage – b.288-302 o 2nd subject – b.303-372 • Extended Coda – b.373-502 Pitch Melody: • Piece begins in C minor with several modulations throughout: o The second subject modulates to E flat major through the descending arpeggios in the bridge passage o The development is in F minor before modulating back to the tonic of C minor in the recapitulation o The second subject in the recapitulation is in C major, the tonic major o The piece is back to C minor in the coda and there is an extended tutti perfect cadence from bar 496 to the end o The modulations are of major and minor tonalities, a classical characteristic • From bar 6 there is the use of imitation and sequences in the throughout the strings before the whole orchestra restates the theme at bar 18. • There is then the return of the main motif announced by the full string and wind sections and the horns, followed by sequenced variations. • At bar 38 a new rhythmic and melodic ascending motif is introduced in the strings: • The bridge passage consists of
The perfection of its form is not lower than the sonata in B flat minor, and maybe somewhat surpasses it. It is as perfect in form as the previous sonata written thirteen years earlier, these two works are completely different, perhaps opposite to each other. Their only similarity could be considered a four-movement structure. The main difference between two sonatas lies in their imaginative structure: if the Second sonata was exclusively tragic (so much so that the performance was not easily given to the author emotionally), then the Third is surprisingly
The Gothic era produced 4/4 timing and other methods for measuring rhythm. The texture of music was vastly polyphonic, which 3 or 4 parts of one instrument used to create some excellent tones. Harmonies were also a result of polyphonic texture. Polyphonic texture is where two or more voices or instruments are mixed together and play separate melodies, but in the same key. The Gothic era used techniques which are called ‘dual or triple harmonies’.