The repeating rhythmic section was the talea and the repetitive section of melody was the color. When written in a piece the color and talea could be written out in same length starting and finishing together. However in some motets the color would be written longer than
Brian Guay Music History I Research Paper William Byrd was considered a great English composer of his time, one of the greatest. He wrote for several different genres including sacred music, and he also wrote secular vocal and instrumental music. Byrd lived during the Late Renaissance, a time of reformation and change. However, as people were breaking away from the Catholic Church, William Byrd remained Catholic. The church began to use English in services rather than Latin, however Queen Elizabeth allowed Latin to be used in some sacred music (Burkholder, Grout, Palisca, 222).
Dido’s Lament The Baroque period was a significant turning point for music; it began to be a separate form of art and not purely based in religion. The use of Recitative and Aria became a critical key factor to the development of opera, and is clearly used in “Dido and Aeneas” by Purcell. To enhance the characteristics of the Baroque opera, many techniques for manipulating Pitch, Duration and Dynamics were used. With these techniques it created more emphasis of the text with the use of word painting and string instruments. Throughout this piece the Recitative of the song is mainly sung in speech form, creating emphasis on specific parts of the text.
To understand how this Passion fits into the history and culture that it was conceived in, one must first understand what the Passion is, in this context. The Passion is the story of Christ’s crucifixion as recorded in the gospels. Each gospel was read out during Holy Week, with Matthew’s recited on Palm Sunday. As early as the fifteenth century there have been polyphonic settings for the text. Changes occurred in the seventeenth century, with Passions progressing from plainchants and introducing instruments.
- The Baroque gave rise to a remarkable variety of musical style, ranging from the expressive monody of Claudio monteverdi (1567-1643) to the complex polyphony of J.S. Bach (1685-1750). -Baroque also introduce many new musical genres--opera, cantata, oratorio, sonata, concerto, and suite -Despite the quick stylistic changes and all the new types of music created, two elements remain constant throughout the Baroque period: an expressive melody and a strong supportive bass. Expressive Melody: - In early Baroque music, the voices are no longer equal. Rather a polarity develops in which the musical emphasis gravitates toward the top and bottom lines.
When solo sections occur, they are followed with choral ripieno standard to the period. Mozart uses cantabile, imitative, homophonic, and fugual choral textures that could be easily categorized as Handelian. The Requiem also contains examples of the new style of music that Mozart and his contemporaries creating. He combines huge stile antico contrapuntal statements with
In the Baroque period the music consisted of one main mood throughout, if it begins with grief it will end with grief. It usually consist of joy, grief, and agitation they were known as affections. The rhythm of the baroque music was continuity. What is heard at the beginning of the piece will be continued throughout the entire piece. The melody is also a feeling of continuity.
Imagine the sun finally peeking out from behind the clouds after a rainy day and brushing against your skin, the wind Instruments hold long heartfelt notes during this time. This heartfelt theme is kept for awhile until the flutes reintroduce the Moldau melody. This does not last for long because the horns return accompanied by the
PowerPoint: ‘Year 10 RE Unit on Christian Music’.) Characteristics There were many special characteristics of Gothic music. Firstly, vocal music was organized according to text. Gothic music also featured considerable use of contrary motion to elaborate melismaticism. There were also numerous vocal characteristics present in instrumental music.
Moreover, other techniques used such as ornamentation and inversion as well as broken chords are also noticeable. In theme 1, such as measure number 5-7, 2 ornamentation notes are used on the right hand. In theme 2, 3 short passing notes also appear on the left hand. The C section used inversions of the motive in theme 1 followed by sequences. It is a tool for composer to vary its main theme.