|
|
|
Mozarts Requiem
Hire a custom writer who has experience.
It's time for you to submit amazing papers!
order now
genre: requiem mass
homophonic
soloists are integrated into total structure, not given their own movement
|
|
|
|
|
Billings: Africa
genre: hymn
syllabic
melody in tenor
straight forward rhythms
commom metre
|
|
|
|
|
Beethoven: Symphony no. 3
genre: symphony
many ideas
motive development
fugue
|
|
|
|
|
Beethoven: Piano Sonata in C Major
genre: piano sonata
exploring unusual tonalities
exploring extremes of the piano
biggest textures
generally more virtuosic
|
|
|
|
|
Beethoven: String Quartet in Bb Major
genre: string quartet
covatina and adagio
“song without words”
expresses peacefullness
|
|
|
|
|
Schubert: Erlkonig, Prometheus, and Wanderers Nachtlied
genre: lied
changes voice per character
Goethe: poet of these pieces
|
|
|
|
|
Fany Mendelssohn: Piano Trio in D minor
genre: piano trio
“song without words”
lyrical
prosaic
|
|
|
|
|
Chopin: Mazurka in A Minor, op.17, no. 4
genre: Mazurka
triple metre
ABA form
harmonically ambiguous
lyrical
reference to Poland
no modulation
|
|
|
|
|
Chopin: Preludes, op. 28
melody oriented
harmonic vagery
|
|
|
|
|
Chopin: Ballade in G minor, op. 23
nostalgic
|
|
|
|
|
Schumann: Carnaval, op. 9
4 pieces
|
|
|
|
|
Liszt: Nuages gris
vague tonality
lack of melodic or harmonic direction
prominence of augmented 4th
|
|
|
|
|
Wagner: Tristan und isolde:
“tristan chord”
|
|
|
|
|
Strauss: An der schonen blauen Donau
genre: waltz/dance
non programmatic
periodic phrasing
homophonic
lilting triple metre
|
|
|
|
|
Tchaikovsky: The Nutcracker
genre: ballet
exotic
drone bass
pentatonic scales
rapid fire passages
|
|
|
|
|
Brahms: Symphony no. 4
genre: symphony
based on Bach’s contata no. 150
ABA form
series of 30 variations
homophonic
|
|
|
|
|
Dvorak: Symphony no. 9 largo
genre: symphony
drone bass
pentatonic melodies
walking bass
use of sonata form
|
|
|
|
|
Mahler: Symphony no. 1
genre: symphony
funeral march
Frere Jacques
|
|
|
|
|
Debussy: Prelude a l’Apres midi d’un faune
genre: tone poem
large orchestra
rhythmic fluidity
used in ballet
programmatic
chromatic line (tri-tone)
successive 7th chords
|
|
|
|
|
Bartok: Diminished Fifth
genre: character piece
solo piano
featured diminished fifth
|
|
|
|
|
Debussy: Violes
genre: character piece
solo piano
general ABA form
pentatonic scales
rhythmically free
whole tone scales
emphasis on timbre
|
|
|
|
|
Ives: The Cage
genre: art song
voice and piano
quartal harmoines
atonal
strict, declamatory rhythms
no indicated metre
very repetitive and mechanical
|
|
|
|
|
Stravinsky: The Rite of Spring
genre: ballet
orchestra
1913
repeated 5-note figure
solo trumpet and flute against string quartet
traditional harmony (opening)
polytonal
highly symbolic of humanity metaphysical questions
|
|
|
|
|
Bartok: Six Dances in Bulgarian Rhythm
genre: character piece
solo piano
1932-1939
frequent repetition of rhythm
rhythms influenced by jazz
polytonal
use of phrigian mode
displays influence of Eastern European folk music
|
|
|
|
|
Villa-Lobos: Bachianas Brasileiras:
genre: character piece
piano and orchestra
1930
tocatta
|
|
|
|
|
Cowell: The Banchee
genre: character piece
piano
1925
tempo rubato/lacks pulse
string played directly with fingers
unearthy wailing sounds
aformal
damper pedal held throughout
|
|
|
|
|
Schoenberg: Pierrot lunaire
genre: song/cycle
instruments and voice
1912
atonal
dissonant, non-triadic
melodic leaps
through-composed
demanding vocal range
declamatory, half-speech, half-sung
|
|
|
|
|
Berg: Wozzeck
genre: opera
voices and orchestra
1925
use of traditional form
atonal
speech-like melody
difficult melodic leaps
extensive range required
|
|
|
|
|
Schoenberg: Piano Suite op. 25
genre: piano suite
solo piano
1923
atonal
use of serial tradition
use of canon
intricate rhythms
developing variation
rhythmically and melodically disjunct
|
|
|
|
|
Berg: Lyric Suite
genre: string quartet
string quartet
1926
quotes the “tristan chord”
atonal but tonal implications
use of hexachords
repeated 16th note motives
use of serial techniques
|
|
|
|
|
Tailleferre: Concertino for Harp and Orchestra
genre: concertino/fugue
harp and orchestra
small fugue appearance
rondo form includes fugue
neoclassical
|
|
|
|
|
Bartok: Music for Strings, Percussion, and Celesta
genre: orchestral piece (suite)
string, percussion, celesta
1986
unusual orchestrations
arch form (symmetrical)
opens with rhythmic palindrome in xylophone
tonal, but not triadic
sweeping figures in piano and celesta
|
|
|
|
|
Copland: Rodeo-Hoedown
genre: ballet
orchestra
1942
use of folk songs
open 5th chord
galloping, syncopated rhythm
expansion of motivic ideas
wide orchestra/timbral spacing
|
|
|
|
|
Shostakovich: String Quartet no. 8
genre: string quartet
string quartet
1960
tonal, but highly chromatic
pedal bass used
opening motive spells monogram
oom-pah-pah rhythm
non-lyrical
|
|
|
|
|
Messiaen: Quatuor pour la fin du temps
genre: quartet
violin, clarinet, cello, piano
1940
violin/cello harmonies
layering of strict and free rhythm
nonretrogradable rhythms
use of isorhythms
tonal, but nonfunctional
clarinet and violin imitate
bird calls
piano repeats a 2 9 chord progression
|
|
|
|
|
Bernstein: West Side Story
genre: Broadway Musical
voices adn orchestra
1957
bass ostinato
recitative like, declamatory passage
jazz influenced harmonies and rhythms
complex harmonies
|
|
|
|
|
Penderecki: Threnody for the Victims of Hiroshima
genre: tone poem
strings (52)
1960
use of microtones
lack of metre (only time indicated)
percussive violin techniques
dense cluster chords
5 sections
unusual timbral effects
|
|
|
|
|
Babbit: Three Compositions for Piano
genre: character piece
solo piano
1947
first ever pieces composed with tonal serialism
combinational
16th note as basic unit
structurally symmetrical
|
|
|
|
|
Le Caine: Dripsody
genre: electronic
tape recorder
1955
based on the sound of a drop of water
variety of sonic effects
produced via splicing
ends in the proverbal “dripping faucet” sound
arpeggiated tones
lack of form of measure
unnotated (exists only in recordings)
|
|