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| Essays on MUSIC: CLASSICAL
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ROBERT SCHUMAN'S SONGS.
Term Paper ID:30752
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Essay Subject:
Analysis of Opus 48, No. 16.... More...
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3 Pages / 675 Words
2 sources, 4 Citations,
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Paper Abstract:
Analysis of Opus 48, No. 16. "Die alten bosen Lieder." The musical theme of this 1840 song. Development of the vocal melody. Heinrich Heine's lyric poem as the source of the lyric. Its place in Schuman's song cycle. How it is interlocked with Song 15. Relationship between songs 12 and 16.
Paper Introduction:
Robert Schuman was born June 8, 1810 in Zwickau, Germany, the son of a book publisher and writer. He showed early abilities in both music and literature, though he was not considered a prodigy by any means. His sister and father died tragically when he was sixteen, and he was then sent to the University of Leipzig, where he studied law until he was able to convince his mother of his need to study music. His works are noted for their links to literature, and many of his compositions allude to characters or scenes from poems, novels, and plays. His music thus has an intimate relationship with the written word, and this is certainly true of the songs he wrote, such as "Die alten bösen Lieder."
This work (Op. 48, No. 16) was written in 1840. The song
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CONSTRUCTION OF CLASSICAL MUSIC & GENDER.
Term Paper ID:29960
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Essay Subject:
Analysis of whether music can be gendered.... More...
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8 Pages / 1800 Words
5 sources, 7 Citations,
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Paper Abstract:
Analysis of whether music can be gendered. Examines several Sonatas & symphonies of Beethoven & Shubert as gender models. Development of the musical themes with reference to the identity of the self. The virility of Beethoven's music characterized by its directness & ferocity. The flexibility of Shubert's music as female. The Sonata as a model for experimentation. Biographical elements of the two composers that inform their musical expression.
Paper Introduction:
Susan McClary examines the second movement of Schubert's "Unfinished Symphony" with reference toward gender and constructions of subjectivity, and she poses the idea that during the early nineteenth century, concepts such as identity and masculinity were being newly defined, with art being one of the defining processes. In literature, the bildungsroman (or the novel of character development) were part of the "privileged genre," and through these novels, the middle class became educated as to the proper role of a civilized man. McClary finds that the sonata was the musical equivalent of the bildungsroman. The construction of the movements of the sonata shows the development of a theme that goes though many changes of identity and then resolves in the original key and theme. A sonata provided a model for experimentation that would resolve
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IMPORTANCE OF THE STUDY OF MUSIC IN SCHOOL.
Term Paper ID:29923
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Essay Subject:
Discusses music classes as a valuable educational tool & important element of the curriculum.... More...
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10 Pages / 2250 Words
3 sources, 3 Citations,
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Paper Abstract:
Discusses music classes as a valuable educational tool & important element of the curriculum. Compares two films that celebrate the power of music in education and positive impact on music students: MR. HOLLAND'S OPUS & MUSIC OF THE HEART. The first film is a long-term look at a composer-turned teacher & his successes as a music teacher in a suburban school. The second, based on a real-life situation, depicts the obstcles & success of a teacher who brought music classes to an urban minority school.
Paper Introduction:
The two films Mr. Holland's Opus and Music of the Heart have certain similarities as well as considerable differences, but at heart, each celebrates the power of music in education and the need to support the arts in the educational setting for the benefit of all students. Inherent in this idea is the view that music is valuable in itself, but at the same time, it is seen as a force that empowers the student who studies it and plays it, a force for developing self-esteem and a sense of accomplishment. The study of music and the other arts is often depicted as if it were a frill, but the teachers who are the main characters in each of these films shows that it is not a frill at all but a central educational tool that helps students with other subjects and makes them better students all round.
The films take place in different worlds both in time and
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MOZART AND SALIERI.
Term Paper ID:29411
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Essay Subject:
Compares and contrasts lives of the two composers.... More...
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11 Pages / 2475 Words
11 sources, 15 Citations,
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Paper Abstract:
Compares and contrasts lives of the two composers. Based on the 1984 film AMADEUS. Analyzes the historical accuracy of the film. Theme of man in relation to God. Thinking during the Enlightenment. Concludes film is basically accurate but also contains storytelling fantasy. The brilliance of Mozart and the frustration of Salieri.
Paper Introduction:
This study will compare and contrast the life of eighteenth- century composer Amadeus Mozart with that of his rival Antonio Salieri, using the 1984 film Amadeus as the basis for the comparison. The historical accuracy of the film with respect to the two composers will be analyzed, as will be the theme of man in relation to God which the film addresses and which reflects on the questions and changes brought to society and thinking during the Enlightenment. The arguments of the study will be that (1) the film is fairly accurate, although it exaggerates and oversimplifies for dramatic purposes, and appears to take greatest license in the area which is central to the film--the relationship between Mozart and Salieri; (2) the relationships of both Mozart and Salieri to life, music and creativity shed much light on the questions raised by the Enlightenment with respect to th
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MARIAN ANDERSON.
Term Paper ID:29288
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Essay Subject:
Examines the life and work of the African American contralto.... More...
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6 Pages / 1350 Words
4 sources, 15 Citations,
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Paper Abstract:
Examines the life and work of the African American contralto. Her early recognition as a singing prodigy. Development of her career in music and rise to prominence. Race-based difficulties she overcame. Her involvement in social change. The 1939 Constitution Hall concert controversy. Daughters of the American Revolution (DAR) protest. Anderson's debut at the Metropolitan Opera.
Paper Introduction:
This research examines the life and work of African American contralto Marian Anderson (1897-1993). The research will discuss the context in which Anderson achieved prominence and her involvment in social change, and the race-based difficulties she encountered and overcame. Her attitude toward the process of effecting a shift in social organization and attitudes will also be reviewed.
At a time when African American entertainers have a high public and career profile among whites as well as blacks, it is remarkable to contemplate that as recently as 66 years ago--and as long ago as 20 years before the civil rights movement effected major social change in America--the custom and practice of overt racial discrimination and legally sanctioned racial segregation were a matter of routine and black-letter law. Like other Ameri
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VIVALDI'S "SPRING" CONCERTO.
Term Paper ID:28953
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Essay Subject:
Analysis of Antonio Vivaldi's solo concerto "Primavera" Op. 8, No. 1 ("Spring").... More...
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4 Pages / 900 Words
4 sources, 15 Citations,
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Paper Abstract:
Analysis of Antonio Vivaldi's solo concerto "Primavera" Op. 8, No. 1 ("Spring"). The first of the 4 concertos that make up The Four Seasons, a programmatic piece. Discusses the ideas of the poem. Discusses interpretations. Details each movement and its motifs.
Paper Introduction:
Antonio Vivaldi's Primavera, or Spring (Op. 8 no. 1) was the first of the set of concertos entitled Le quattro stagioni (Op. 8 nos. 1-4) published in Il cimento dell'armonia e dell'inventione at Amsterdam in 1725 (although the date of their composition is uncertain). The Primavera is a solo concerto scored for Violino principale, two other violins (ripieno), violas, violoncellos and double basses with continuo (usually played on harpsichord). The four concertos provide an example of programmatic music, illustrating four simple poems addressed to the seasons which may have been written, or at least adapted, by Vivaldi himself.
In the poem to Spring, in rough outline, the goddess is welcomed by the singing of birds and the breath of Zephyrs which makes the brooks murmur. Thunder and lightning, one of her signs, arrive and darken the sky. The storm is soon over and the
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ANTONIN DVORAK.
Term Paper ID:28375
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Essay Subject:
His career as a national composer. Analysis of symphony "From the New World," & its inspirations, themes, movements.... More...
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6 Pages / 1350 Words
4 sources, 18 Citations,
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Paper Abstract:
His career as a national composer. Analysis of symphony "From the New World," & its inspirations, themes, movements.
Paper Introduction:
Throughout his rich and productive career Antonin Dvorák (1841-1940) was a national composer first and foremost. The Czech people had been part of the Austrian empire for centuries and the first hint of liberty came only in 1861--with full statehood another fifty years away. Yet "artistic self-determination was about to be realized, and it was in the hands of the right men" (Robertson 9). Among these men Dvorák emerged as one of the greatest of Czech artists with "a musical language saturated with the songs and dances of his native land" (Steinberg 150). Thus it seems, at first, very strange that his most famous and enduringly popular work, the symphony in E minor (Op. 95), titled From the New World, grew out of his experience of the United States. It is less strange, however, when the listener realizes that rather than drawing directly on Native-
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STRING QUARTET, THE.
Term Paper ID:28055
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Essay Subject:
Development; musical disputes. Vision & influence of composer/condoctor Louis Spohr.... More...
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7 Pages / 1575 Words
10 sources, 15 Citations,
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$28.00
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Paper Abstract:
Development; musical disputes. Vision & influence of composer/condoctor Louis Spohr.
Paper Introduction:
INTRODUCTION
The development of the string quartet did not take place without controversy. In the nineteenth century, a dispute erupted as to the direction the string quartet should take, a dispute bound with different ideas about performance, the relationship of performance to composition, and the way certain instruments should be used in the quartet as in other types of composition. Composer and conductor Louis Spohr advocated virtuoso violin play in the quartet, while composers such as Schumann and Mendelssohn saw the string quartet not as a collection of pieces with differing performance requirements but as a cohesive whole, with the unity of the four instruments emphasized over any one instrument emerging even for only one movement or more.
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Mozart's Final Year
Term Paper ID:27734
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Essay Subject:
Examines the last year of Mozart's life. Discusses his music, relationships, social position, & financial difficulties.... More...
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5 Pages / 1125 Words
2 sources, 6 Citations,
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Paper Abstract:
Examines the last year of Mozart's life. Discusses his music, relationships, social position, & financial difficulties.
Paper Introduction:
Mozart
Introduction
Although we tend to think of Mozart as the child prodigy and genius composer, his life was not a complete success. He had to deal with many personal and professional difficulties, and this was certainly the case during the last year of his life. Yet, he continued to compose important music that is honored to this day.
Mozart's Last Year
Mozart was very young when he died. In January of 1791, he had just turned 35, but this was to be his last birthday. At the time, he was in an extremely difficult and precarious position. His fame was extensive, but he had very little money and less meaningful work. As Harris (1991) noted, although he was still
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VIVALDI, ANTONIO.
Term Paper ID:26888
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Essay Subject:
Life, career, influences, major works, style & forms of 18th Cent. Italian composer.... More...
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10 Pages / 2250 Words
10 sources, 36 Citations,
MLA Format
$40.00
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Paper Abstract:
Life, career, influences, major works, style & forms of 18th Cent. Italian composer.
Paper Introduction:
Antonio Vivaldi (1678-1741) wrote nearly 500 concertos of various types, composed at least 50 operas and other vocal and instrumental pieces by the score, strongly influenced the direction of violin technique, and was a primary influence on Johann Sebastian Bach. His career was characterized by great fame as a violin virtuoso, "enormous productivity and [an] unusually wide circulation of his music" (Talbot 1). Yet for two centuries after his death Vivaldi and his music sank into "utter oblivion" and were only resurrected in the latter half of the twentieth century (Landon 7). Despite this long absence Vivaldi's reputation has revived swiftly. Although his vocal works and other instrumental pieces are not, as yet, well known, he was one of the primary innovators of the concerto form and, appropriately, his concertos, such as the suite of four known as
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"PAUL BUNYAN" (BENJAMIN BRITTEN).
Term Paper ID:26446
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Essay Subject:
Analyzes 1941 opera, subject, songs & text, composer's career, dramatic action, revisions, performances, collaboration.... More...
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18 Pages / 4050 Words
11 sources, 64 Citations,
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$72.00
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Paper Abstract:
Analyzes 1941 opera, subject, songs & text, composer's career, dramatic action, revisions, performances, collaboration.
Paper Introduction:
The opera Paul Bunyan (1941) is an early work by Benjamin Britten that met with little success and was consequently set aside by the composer until, 35 years later, he was persuaded to review and revise it and offer it to the public a second time. In the interval Britten had become one of the major opera composers of the century and W. H. Auden, his librettist and one of the greatest English poets, had written successful librettos for other composers. If for no other reason, then, Paul Bunyan had great value for the retrospective glimpse it provided into its creators' early careers. When the work was revived critics and scholars found, as they had hoped, numerous early indicators of ideas and techniques that were to bear fruit in Britten's later works. Most importantly, however, the opera itself was found to be both more substantial than expected and thoroughly
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ISORHYTHMIC MOTET.
Term Paper ID:25672
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Essay Subject:
Examines rise of this form of vocal music in 14th Cent., in works of Guillaume de Machaut & John Dunstable & related to Ars Antiqua & Ars Nova eras.... More...
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6 Pages / 1350 Words
3 sources, 5 Citations,
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Paper Abstract:
Examines rise of this form of vocal music in 14th Cent., in works of Guillaume de Machaut & John Dunstable & related to Ars Antiqua & Ars Nova eras.
Paper Introduction:
This paper discusses the rise of the isorhythmic motet in the fourteenth century, as exemplified in the works of Guillaume de Machaut and John Dunstable. It will also consider the relationship of this motet form to the shift from the Ars Antiqua to the Ars Nova in the fourteenth century.
The motet was the most important form of vocal music during the late Middle Ages and early Renaissance. It was polyphonic and usually for three voices, although many examples of two- and four-part motets are known (Hughes, 353). Used in both court and church, it also penetrated into the sphere of popular music.
The thirteenth-century motet still bore, to modern ears, a great resemblance to Gregorian chant. Even though the motets are polyphonic and the Gregorian chant monophonic, most motets of the Ars Antiqua move with such solemnity and present such a bland conco
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PURCELL, HENRY.
Term Paper ID:25302
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Essay Subject:
Life & career of 17th Cent. English composer of operas.... More...
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8 Pages / 1800 Words
6 sources, 32 Citations,
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Paper Abstract:
Life & career of 17th Cent. English composer of operas.
Paper Introduction:
Henry Purcell (1659-1695) was one of the greatest English composers. In a very short lifetime he managed to write a large amount of music in various genres, much of which is still played and admired today. But Purcell's greatest talent was in the composition of vocal works and English opera had not yet developed sufficiently in Purcell's lifetime to give him the scope his talent required. Rather than writing full-scale operas Purcell wrote scores for a hybrid form of dramas with music and incidental music for a great number of plays and masques. Despite the failure to find a perfect match between his talent and the complementary musical form, Purcell wrote theatrical music of great dramatic power and works of other types, such as those for keyboard, that were both charming and brilliant.
It is assumed from later evidence that Purcell was born in
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MUSICAL INSTRUMENTS IN MIDDLE AGES.
Term Paper ID:25290
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Essay Subject:
Types, forms & purpose of music played, religious & secular music, theory, vocalization.... More...
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11 Pages / 2475 Words
8 sources, 44 Citations,
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Paper Abstract:
Types, forms & purpose of music played, religious & secular music, theory, vocalization.
Paper Introduction:
Very little is known of how musical instruments were employed in the Middle Ages. Although medieval art and literature offer considerable evidence of the existence of a variety of instruments, medieval theorists and transcribers of music indicated almost nothing about their use. It is known that, with the relatively minor exceptions of the organ and tuned bells, instruments were not used in sacred music. Their broad use in secular music, however, is little understood. In studying an era when little was done to preserve secular music, and existing scores made no mention of instrumental roles, musicologists must make deductions about instrumentation based on non-musical evidence and the interpretation of the rare extant scores, whose notations are imperfectly understood. A review of the use of instruments in medieval music demonstrates the extent
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MONTEVERDI'S OPERAS.
Term Paper ID:25281
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Essay Subject:
Examines career of 17th Cent. Venetian composer, major works, techniques, style, themes, impact on his culture.... More...
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10 Pages / 2250 Words
10 sources, 18 Citations,
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Paper Abstract:
Examines career of 17th Cent. Venetian composer, major works, techniques, style, themes, impact on his culture.
Paper Introduction:
Although Monteverdi came late to the opera scene in Venice, he established himself as a master of the genre. No composer was more adept than Monteverdi at expressing human emotion through music. An examination of Monteverdi's life from 1633 to his death reveals a composer whose brilliance never diminished with age.
By 1633, Monteverdi, although advanced in age, was a prolific composer. His name and publications were famous throughout Europe. During this period Monteverdi also set out to prepare a musical treatise, in which he hoped to make clear to the musical world the theories that formed the basis of his seconda prattica, or second practice.
In 1633, Monteverdi was still music director at St. Mark's, Venice, a post he had held since 1613. By the 1630s, Monteverdi
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"FIFTH MADRIGAL BOOK" (CLAUDIO MONTEVERDI).
Term Paper ID:25280
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Essay Subject:
Examines content, style & innovation of 16th Cent. composer's dramatic madrigal & his relationship with his patron & major rival.... More...
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9 Pages / 2025 Words
9 sources, 19 Citations,
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$36.00
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Paper Abstract:
Examines content, style & innovation of 16th Cent. composer's dramatic madrigal & his relationship with his patron & major rival.
Paper Introduction:
Claudio Monteverdi's Fifth Madrigal Book represents the musical innovation for which the composer was known. The Fifth Madigral Book is a dramatic madrigal, part drama and part musical performance. Monteverdi's compositions generated considerable artistic and literary comment, and the Fifth Book was no exception. Although derided by traditionalists, the Fifth Madrigal Book was received enthusiasticly by Monteverdi's public and his colleagues who valued its harmony and dramatic expression.
Monteverdi's 5th Madigral Book was written when the composer was employed in the court of Vincenzo (I) Gonzaga, Duke of Mantua. Monteverdi's original position in court was a string player; he first arrived in Mantua around the age of 22. The precise year of his employment is unknown, but by January 1590,
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MUZIO CLEMENTI & LUDWIG VAN BEETHOVEN.
Term Paper ID:25153
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Essay Subject:
Examines their relationship & musical influences of Clementi on Beethoven (compositional techniques, chord progressions, harmonies, dynamics).... More...
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14 Pages / 3150 Words
7 sources, 62 Citations,
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$56.00
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Paper Abstract:
Examines their relationship & musical influences of Clementi on Beethoven (compositional techniques, chord progressions, harmonies, dynamics).
Paper Introduction:
Ludwig van Beethoven is arguably one of the most original composers who ever lived. His composing career began in the last decade of the 18th century and ended with his death in 1827, and thus spanned from the Classical to the Romantic period. In his youth, he studied under F. Joseph Haydn, one of the greatest Classical composers; in his maturity, he anticipated the Romantic style which was later fully realized in the works of Schubert, Schumann, Berlioz and Chopin, among others. Although Beethoven is rightfully acknowledged as a brilliant innovator, he was not without his influences. The goal of this research is to establish the influence of a particular composer, the Italian pianist and composer Muzio Clementi, on Beethoven's keyboard compositions.
Clementi was Beethoven's contemporary; though he was born in
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"WINTERREISE" (FRANZ SCHUBERT).
Term Paper ID:24915
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Essay Subject:
Examines first & last works of early 19th Cent. song-cycle. Plot, music, poetry, tone, melody.... More...
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6 Pages / 1350 Words
6 sources, 17 Citations,
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Paper Abstract:
Examines first & last works of early 19th Cent. song-cycle. Plot, music, poetry, tone, melody.
Paper Introduction:
The song-cycle Winterreise [Winter Journey] by Franz Schubert (1797-1828) is considered one of the composer's supreme masterpieces. The songs, settings of a 24-poem cycle by Wilhelm Müller, were among the last works of Schubert's short life and they represent one of the peaks in his development of the lied form. The Winterreise was also the second of Schubert's song-cycles--a form he was developing and which could have reached even greater heights if he had lived. Though the impact of the work is greater when it is considered as a whole--a whole which is truly greater than the sum of its parts--the individual songs demonstrate the great height to which Schubert had brought the art of setting texts to music. At the core of this art is the depth of feeling generated by the combination of words and music. A brief examination of two of the pieces will demonstrate how
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"CARMEN JONES" (OSCAR HAMMERSTEIN II).
Term Paper ID:24733
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Essay Subject:
Critiques 1944 opera, compared to Georges Bizet's 1875 [Carmen]. Settings, time, characters, plot, themes (sexuality, race, romance), music.... More...
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12 Pages / 2700 Words
9 sources, 37 Citations,
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Paper Abstract:
Critiques 1944 opera, compared to Georges Bizet's 1875 [Carmen]. Settings, time, characters, plot, themes (sexuality, race, romance), music.
Paper Introduction:
Carmen Jones (produced 1944) by Oscar Hammerstein II is a version of Georges Bizet's opera Carmen (produced 1875), one of the most widely-known and best-loved of all operas. In transforming Carmen by changing its time and place, rewriting the libretto in English, and replacing Bizet's characters with African Americans Hammerstein was attempting to broaden the audience for opera in America. Although Hammerstein managed to create the popular success he wanted, many of his changes undermined the dramatic-musical synthesis on which the success of Bizet's opera rests. The principal flaw in Hammerstein's version is that while Bizet's, and the characters', exoticizing racism was essential to the dramatic and musical structure of Carmen, the later work eliminates this essential tension. Carmen Jones was left with the drama of romantic passion and an attempt to
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BEETHOVEN'S FIRST & FIFTH SYMPHONIES.
Term Paper ID:24625
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Essay Subject:
Analyzes structures, movements, forms, tonality, innovations, key shifts, instruments; compared to other composers' works.... More...
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10 Pages / 2250 Words
7 sources, 38 Citations,
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Paper Abstract:
Analyzes structures, movements, forms, tonality, innovations, key shifts, instruments; compared to other composers' works.
Paper Introduction:
Ludwig van Beethoven's composing career began in the last decade of the 18th century and ended with his death in 1827, and thus spanned from the Classical to the Romantic period. In his youth, he studied under F. Joseph Haydn, one of the greatest Classical composers; in his maturity, he anticipated the Romantic style which was later fully realized in the works of Schubert, Schumann, and Berlioz, among others. Beethoven's wrote only nine symphonies; on its face this seems paltry compared to Haydn and Mozart, who established the Classical symphonic style--between them, they wrote over 150. However, despite the beauty (and often humor) found in Haydn's symphonies and the sheer brilliance of Mozart's, Beethoven single-handedly redefined the form and used it as a means of emotional, as well as musical, expression. This research will examine two of Beethoven's symphonies, his
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FRANZ HAYDN & WOLFGANG MOZART.
Term Paper ID:24592
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Essay Subject:
Examines friendship & mutual musical influences of 18th Cent. composers.... More...
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7 Pages / 1575 Words
6 sources, 33 Citations,
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Paper Abstract:
Examines friendship & mutual musical influences of 18th Cent. composers.
Paper Introduction:
Franz Joseph Haydn (1732-1809) had the unusual distinction of preceding and following the career of Wolfgang Amadeus Mozart (1756-1791). In the course of Mozart's short life, the two composers became friends and Haydn was an important influence on the younger man. But Mozart, who began to compose at such an early age, ended by influencing Haydn as well. The degree of influence each composer exerted on the other has been elucidated by musicologists over many decades. But many of the most widely accepted ideas about the relationship are constantly subjected to scholarly reinterpretation. A brief outline of their relationship and several examples of their mutual influence will demonstrate how the two great composers of the late eighteenth century learned from each other.
Haydn and Mozart were very different kinds of men, from very
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BEETHOVEN & EVOLUTION OF MUSIC.
Term Paper ID:24163
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Essay Subject:
Examines 19th Cent. German composer as transitional figure between classical & romantic periods. Form, structure, style, musical philosophy, focusing on [Eroica] symphony.... More...
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10 Pages / 2250 Words
7 sources, 41 Citations,
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Paper Abstract:
Examines 19th Cent. German composer as transitional figure between classical & romantic periods. Form, structure, style, musical philosophy, focusing on [Eroica] symphony.
Paper Introduction:
Beethoven's role as a transitional figure between the classical and romantic periods took several forms. In one sense, it was the composer's mystique, based on nineteenth-century perceptions of Beethoven as "the very type of the artist," that influenced other musicians, and the general reception of his works (Kerman and Tyson 392). In another sense, it was the increased freedom of personal expression in Beethoven's music that exerted the greatest appeal for later musicians. Beethoven, for example, often wrote music that was openly autobiographical "in a way that is unthinkable before 1790," but which struck a positive chord among the Romantics (Rosen 385). And, in a third sense, Beethoven's influence had a purely musical side, as very few musicians of the Romantic era "escaped his influence in technical respects" (Kerman and Tyson 392). Thus, though most
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REQUIEM MASSES OF GIUSEPPE VERDI & GABRIEL FAURE.
Term Paper ID:23305
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Essay Subject:
Compares late 19th Cent. composers' interpretations of Mass for the Dead.... More...
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12 Pages / 2700 Words
9 sources, 32 Citations,
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Paper Abstract:
Compares late 19th Cent. composers' interpretations of Mass for the Dead.
Paper Introduction:
The requiem mass is a curious case of a text that has been given hundreds of different musical settings in many different forms -- from plainsong to polyphonic to orchestral -- and styles. The words of the traditional Latin form of the mass are, in themselves, very moving. But the choices composers have made over the centuries have contributed enormously to the emotional and spiritual impact of the text. Each composer who addressed the problem of setting this text had his own motivations and produced a work that bore his individual stamp. A comparison of two requiems, those by Giuseppe Verdi and Gabriel Fauré, demonstrates how the same subject and the same words can be given radically different interpretations by two fine composers. Curiously, in a religious form, neither man was a believer. Yet their Requiems possess the same or even greater spiritual
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POST-ROMANTICISM IN MUSIC.
Term Paper ID:23268
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Essay Subject:
Effects & rejection of romantic style, form, philosophy by late 19th & early 20th Cent. composers. Major works, impressionism, atonality, innovations.... More...
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10 Pages / 2250 Words
8 sources, 20 Citations,
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Paper Abstract:
Effects & rejection of romantic style, form, philosophy by late 19th & early 20th Cent. composers. Major works, impressionism, atonality, innovations.
Paper Introduction:
This paper is a study of the consequences of romanticism in Western music. Much of the work of 19th century composers was influenced by a sweeping desire to express emotion through music, explore varied forms and lengths of composition, and link music to the other arts, especially literature. The romantic movement encouraged composers to find their individual voices, both in the work they wrote and in the way they supported their art. It released music from the formality of classicism and laid the groundwork for many elements that are now established in modern music, from the variable size of the orchestra to the appreciation of the conductor's importance to performance and interpretation. As the century ended, however, composers began to believe that the romantics had fully explored the limits of major-minor tonality. In moving beyond what they saw then as
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ROMANTICISM IN MUSIC.
Term Paper ID:23267
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Essay Subject:
Definition, major composers & works from 1820 to 1890, compared to classicism, styles & forms, innovations, orchestration, opera.... More...
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10 Pages / 2250 Words
4 sources, 16 Citations,
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Paper Abstract:
Definition, major composers & works from 1820 to 1890, compared to classicism, styles & forms, innovations, orchestration, opera.
Paper Introduction:
This paper is a study of the romantic movement in music, which was at its height in European composition between approximately 1820 and 1890. A reaction to the emphasis of classicism on form, order, and rationality, romanticism explored passion, flamboyance, and individuality. From Ludwig van Beethoven's late compositions to the enormous scale of Richard Wagner's epic operas, romanticism represents the movement of music into the modern world. It nurtured development of the final stage of many of the elements that continue to define modern music, including an almost infinite variety of forms and lengths of composition, the importance of the conductor in performance, and the power of the individual artist's vision. Many of these changes were the result of artistic experimentation, both in form and content, by composers during
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BERNSTEIN, LEONARD.
Term Paper ID:23094
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Essay Subject:
Examines influences of Greek Dimitri Mitropoulos, Pole Artur Rodzinski, Hungarian Fritz Reiner & Russian Serge Koussevitsky on conductor's musical vision & style.... More...
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10 Pages / 2250 Words
9 sources, 38 Citations,
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Paper Abstract:
Examines influences of Greek Dimitri Mitropoulos, Pole Artur Rodzinski, Hungarian Fritz Reiner & Russian Serge Koussevitsky on conductor's musical vision & style.
Paper Introduction:
The legend of Leonard Bernstein began with the fact that it was unusual for an American to conduct a major American orchestra. On the occasion of his New York Philharmonic debut, filling in for an ailing Bruno Walter, Bernstein was introduced by Bruno Zirato, the orchestra's associate manager, as "a full-fledged American conductor, born and entirely raised in this country." An American conductor was not unique, of course, and Zirato duly emphasized Bernstein's American education. In the 1930s, however, a conductor's education and opportunities could only have come from the European source even if it was located in the United States. The four conductors who had the greatest influence on Bernstein in his conductor's apprenticeship, and were all instrumental in starting his career, were the Greek Dimitri Mitropoulos (1896-1960), the Pole Artur Rodzinski (1892-
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BERNSTEIN, LEONARD.
Term Paper ID:22991
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Essay Subject:
Conductor's style, musical philosophy, excesses, critical reception, focusing on works of Beethoven.... More...
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10 Pages / 2250 Words
18 sources, 43 Citations,
APA Format
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Paper Abstract:
Conductor's style, musical philosophy, excesses, critical reception, focusing on works of Beethoven.
Paper Introduction:
As a conductor Leonard Bernstein considered Beethoven, "of all composers", to be "the most interpretable" (Bernstein, 1982, p. 292). As with his various approaches to most of the classical and romantic repertoire, however, Bernstein's interpretations of Beethoven met with a range of responses. Yet the responses could be favorable or extremely unfavorable even when they came from the same source. Harold C, Schonberg, once chief music critic for the New York Times, wrote of a 1960 performance of the Leonora Overture No. 3 and the Piano Concerto No. 1 that they featured "a couple of moments that were absolutely bizarre" and that the latter "was a highly personal and rather vulgar performance" which he disliked a great deal (quoted in Peyser, 1987, p. 303). But of a 1979 performance of the Ninth Symphony Schonberg wrote that although "some" might call it "vulgar" or
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NIETZSCHE ON RICHARD WAGNER.
Term Paper ID:22780
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Essay Subject:
Evolution of philosopher's views on composer (from favorable to critical) as symbolic of his critique of modernist German music, art & culture.... More...
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9 Pages / 2025 Words
9 sources, 19 Citations,
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$36.00
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Paper Abstract:
Evolution of philosopher's views on composer (from favorable to critical) as symbolic of his critique of modernist German music, art & culture.
Paper Introduction:
Nietzsche makes a very critical analysis of the German culture of his time in several of his works, beginning with his assessment of history and culture in The Birth of Tragedy and modified in later works as he rethought his position and changed some of his views. Nietzsche makes a comparison between historical knowledge about past cultures and culture itself. He sees true culture as a unity of the forces of life with the love of form and beauty. Nietzsche considers life as terrible and tragic, but he also views it as transmuted through art, the work of creative genius. Nietzsche discovers the proper role of art in his study of the Greeks, who also knew that life was tragic and terrible but who never gave in to the pessimism that this might entail. Instead, they transmuted life through art. They did this through two different aesthetics, one Dionysian and the
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BEETHOVEN'S "EROICA."
Term Paper ID:22629
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Essay Subject:
Analyzes Symphony No. 3 as example of composer's power, structural innovations, use of scherzo, melody, chords.... More...
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5 Pages / 1125 Words
3 sources, 3 Citations,
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Paper Abstract:
Analyzes Symphony No. 3 as example of composer's power, structural innovations, use of scherzo, melody, chords.
Paper Introduction:
Ludwig van Beethoven
Beethoven spanned the two eras of Classicism and Romanticism. Classicism was, on one level, a preference for balance, while Romanticism was a rage for power. Beethoven used these opposing forces to reshape the symphony as a musicoemotional form, and this was probably the single most important achievement in the development of the Romantic Symphony. Beethoven was also noted for his expansion of the piano sonata and the string quartet. Biographers often emphasize Beethoven as a wretched human being, uncouth, bad-tempered, and often unfair in his business and personal relationships. His personality brought him into constant conflict with publishers, musicians, patrons, family, and friends. His music is highly dramatic, and he was noted for his innovations and the sublimity
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MOZART & HAYDN.
Term Paper ID:22428
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Essay Subject:
Examines similarities between Mozart's "Haydn Quartets" & string quartets of Haydn. Styles, innovation, themes, balance & order. Outline.... More...
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9 Pages / 2025 Words
9 sources, 39 Citations,
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Paper Abstract:
Examines similarities between Mozart's "Haydn Quartets" & string quartets of Haydn. Styles, innovation, themes, balance & order. Outline.
Paper Introduction:
OUTLINE
THESIS: This paper will discuss the ways in which Mozart's
"Haydn Quartets" are similar to the string quartets of Haydn.
I. Introduction
II. The style of Haydn and Mozart
A. The classical style
1. Use of standardized forms
2. Balance and proportion
3. Lightness and elegance
B. Haydn was an innovator of the classical style
C. Mozart took Haydn's ideas and became a master of them
III. Haydn's Opus 33 for string quartet
A. Opus 33 is subtitled "Gli Scherzi" (The Jokes)
1. Uptempo rhythms
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