Time signature

Webern’s Variations for Piano, mvt. 2 Analysis Webern’s Variations for Piano begins with a prime row starting on Bb3. This continues until the Eb4 grace note in measure six. This is primarily consistent in the bottom staff with the exceptions of measures five and six where the rows switch staffs. The switching of staffs occurs in each iteration of the rows and its various forms at one point or another. Wagner also creates an elision with the last note of one row and the first note of another.…

schedule and finishing assignments before there due dates. I made some close friends already and we are only one semester in, I can’t wait to make more. I believe as we reach the end of the semester I can successfully say that I became better with time management, homesickness, and just overall everything that college through at me. The major obstacle I crossed was dealing with stress, some days I wanted to give up, but then I realize that some kids don’t get this opportunity and I had to push…

the French revolution and the composers had been interested in their own identities for their music. In the 19th century, composers, like Schoenberg, represented their identities and thoughts more and it leads to the discovery of atonal music. By the time goes by, the music getting harder to understand in 20th century but the audience still want…

Like most forms of art, poetry can warrant varying responses from different people. These responses could include visual or audial perceptions, or even literal interpretations of the text. The same stanza could inspire one to paint a scene and another to set it to music. In the case of Goethe’s “Kennst du das Land,” we see a plethora of musical interpretations of the same text. Although the vocalists for Schubert’s and Schumann’s settings are singing the same text, the different melodic lines…

I watched the New York Philharmonic Orchestra perform Symphony No.5 of Dimitri Shostakovich, which took place at Bunka Kainan, Tokyo, Japan in 1979. This concert was conducted by Leonard Bernstein. The concert lasted approximately 50 minutes and included varieties of instruments. Instruments to name are a large group of violins, clarinets, cellos, French horns, a harp, flutes, basses including a bassoon and oboe. I tend to hear various melodies used elsewhere either from Star Wars and or Pink…

that connect it all, in order to better understand this piece as a performer and musical admirer. As previously stated, this movement of Sonata No. 9 is in sonata rondo form. Section A recurs 4 times (mm. 1-26, 86-94, 175-190, and 249-266), and following traditional form is in the tonic, D major. Each time A…

Beethoven’s Leonore No. 3 overture can be evaluated the complete version of the Leonore overture like the magnificent symphonic work. This third version of overture also overture was composed in the sonata form like Leonore No. 1 overture, and Leonore No. 2. Further, its musical materials and structure also are developed from Leonore No. 1 overture. In other words, he kept using the excellencies of the previous overtures, and Complemented the Deficiencies of the previous overtures. Basically,…

When listening to any piece by Beethoven, you receive the whole range of emotions, and the Fifth Symphony is no different. Just the first four notes, a simple da-da-da-dum, is enough to send shivers up your back. Packed with all the furious confidence of Beethoven, it suggests scarlet eruptions, heavenly processions and all the powers human drama. These four notes started the memorable first movement. This movement is like a Stephen King novel because it is so saturated with intensity and…

texture and is marked with “p subito”, contrasting the “forte” prior in bar 10, and together create a sense of sudden uncertainty. Mahler surprises us by using the turn motif to decrease almost to nothing. He features the solo bassoon for the first time in bar 11, intentionally drawing attention to its melody. The resulting thin texture is exaggerated by the wide tessitura between the violins and the bassoon. The melody is played at the lowest range of the bassoon to produce a coarse, growly,…

The composition opens in Db major with a tonic chord. Here Debussy has already broken two rules of conventional voice leading; Debussy begins without the tonic note, introducing it later, where the mediant of the chord (F natural) is doubled. This gesture could also be interpreted as opening with chord iii (still with doubled mediant) moving to chord I on the third beat of the bar; however I think this is less likely to be Debussy’s intention because of the use of a Db chord in bar 9 when the…