Although the full suite includes trumpets, oboe, and tympani as well as the strings and a bass line usually played on harpsichord and cello, this movement is reduced to the string orchestra only. The movement begins with a long, rhythmic opening that transitions smoothly to phrases in which the violin and the viola “communicate” with the melody. The piece also includes ornamentation and exaggerated dynamics common to Baroque style music. As the music is played, listen closely for the suspensions common throughout the movement. They provide the harmonic tension
He composed scores for a number of ballets, including two of the most popular of the time: “Agnes DeMille’s Rodeo” (1942) and Martha Graham’s “Appalachian Spring” (1944), for which he won the Pulitzer Prize. Probably the most important and successful composition from this time was his patriotic “A Lincoln Portrait” (1942). The piece for voice and orchestra presents quotes from Lincoln’s writings narrated over Copland’s musical composition. Throughout the 1950s, Copland slowed his work as a composer, and began to try his hand at conducting. He began to tour with his own work as well as the works of other great American musicians.
In 1975, Harrison met Ki K.P.H. Wasitodiningrat, familiarly known as Pak Cokro, one of the great masters of the Javanese gamelan orchestra in that century. Pak Cokro not only instructed him in the performance and theory of gamelan music, but also encouraged him to compose for the ensemble. Over the next ten years, Harrison would produce a remarkable body of nearly 50 pieces for gamelan, often in combinations with Western instruments, such as Philemon and Baukis (violin and gamelan), Main Bersama-sama (horn and Sundanese gamelan), and Bubaran Robert (trumpet and gamelan). He and Colvig built various sets of gamelan instruments, including ensembles at colleges where Harrison taught at various times--Mills College, San Jose State University, and Cabrillo College.
Music, dance and story telling are among the forms of art that have been kept century after century in Africa. Everyday life activities in traditional Africa included music and many other cultural experiences. Music and dance were traditions that characterized an African musical expression and played an important role in the lives of the people.The traditional music of Africa possessed a distinguishing feature of rhythmic complexity like no other continent. Music was highly functional in ethnic life, accompanying birth, marriage, hunting and even political activities.Before the 20th century, music was very different when compared to the 21st century music. Special occasions owned a distinctive type of African music.
Hu Zhenqi 24 June 2011 MRLC Mr.Ryan HOW BACH’S STYLE IS DISTINCT FROM VIVALDI’S Bach and Vivaldi are two of the most well known composers in the Baroque period. They have similarities and differences in their style of composition. This essay would focus on their differences in style. Their styles are different in many ways and most people would focus on their use of melody, harmony or rhythm but this essay would focus on their use of basso continuo. The way Bach uses basso continuo in his music is what makes Bach’s style distinct from Vivaldi’s.
However, as important as it was, improvisation caused problems when musicians attempted to understand and perform Baroque music accurately. Basso continuo, or figured bass, was purely an instrumental concept. It is music that is played by one or more bass instruments and a keyboard instrument. Basso continuo gave bass parts an importance of their own in all areas of ensemble music. It is one of the most distinct features of the Baroque Era as a whole.
Songs were often played to accompany poems and plays. The music would represent the mood of the play, and musicians would sit in a gallery above the stage. Music to be in the court was very popular. Composers would often write a piece in the name of a nobleman, and then give it to them as a gift. Others would try to catch the eye of the Queen, who was always on the hunt for new music.
The music of the Indian subcontinent is usually divided into two major traditions of classical music: Hindustani music of Northern India and Karnatak music of Southern India, although many regions of India also have their own musical traditions that are independent of these. Both Hindustani and Karnatak music use the system of ragas—sets of pitches and small motives for melody construction—and tala for rhythm. Ragas form a set of rules and patterns around which a musician can create his or her unique performance. Likewise, tala is a system of rhythmic structures based on the combination of stressed and unstressed beats. Within these rhythmic structures, musicians (1996.100.1) can create their own rhythmic patterns building off the compositional styles of others.
It is a tool for composer to vary its main theme. Based on the analysis above, we can see that the Piano Sonata composed by Mozart is masterpiece due to its form, harmony, tonality change and other techniques used. Mozart is really the contributor to the classical music, and even to the music that we hear