LJ: Stravinsky- The Rite of Spring Part One

Context: Part One of Stravinsky's "The Rite of Spring" was written in 1913. It is meant to depict a scene in which an old woman tells of the future and young girls begin to dance a sacred dance, then split into two groups and commence a ritual. Then village elders come, and a passionate dance ensues in which everyone becomes one with the earth.
Melody: The melody begins very legato, as all of the notes are mainly slurred together.
Pitch: The pitch is mostly conjunct, with not very many leaps, but the range is both wide and not so much, as it mainly stays within the staff.
Structure: This is only Part One of "The Rite of Spring", though it still has many different parts. For example, at 1:18, a new section is introduced as the tone of the piece changes. At 2:55, everything slows down and gets quiet again, going back to what the original section was like. A new section is at 3:32, when everything is staccato. A new section is introduced at 6:42, after the crescendo.
Timbre: In the beginning, there is a clarinet and a flute. There are also trumpets, a timpani, oboes, tubas, bass clarinets, bassoons, trombones, violins, and violas.
Dynamics: The piece is very piano at the beginning. At 1:18, the dynamic is forte, and then goes back to piano before settling at a mezzo-forte. Then, at 2:37 the dynamic is more forte. Again at 2:55, the dynamic is piano before going back to forte with the new section at 3:32. From 6:18-6:41, there is a very large crescendo.
Texture: The piece is polyrhythmic, and the tempo is legato at the beginning. In the section at 1:18, more parts are added, and everything picks up the pace to more of an allegro feel before slowing down again at 1:50. At 2:37, even more parts are added and the rhythms clash together, making everything seem frantic and squishing together. At 3:32, everything gets very staccato. This part is more homorhythmic, with the same rhythm for many of the parts, but eventually goes back to being polyrhythmic.

LJ: Ottorino Resphigi

Ottorino Resphigi was a composer influenced by the Impressionist Era. He is Italian, and remained neutral during the rise of Mussolini. He studied in Russia and Brazil. Ottorino also composed ballets, operas, vocal/choral pieces, orchestral, and chamber music.

Context: Written in 1916, Fountains of Rome was meant to depict a certain scene to an audience. It is a symphonic poem. The four major sections are supposed to depict different scenes different fountains in Rome. One is at dawn, one is in the morning, one is at noon, and one is at sunset.
Melody: The melody is very conjunct at the beginning, as it moves mostly stepwise.
Pitch: The range of pitch is very limited within the first section up until 5:34, when instead of staying within the staff bars and an octave, many jumps and leaps are made.
Structure: A new section of the piece begins at 5:34, and is very different than the previous one before it. A new section also begins at 6:06, though does not bear much resemblance to the other two sections. A new section begins at 7:49, as well, with a darker and more sinister tone than the others. A new section starts at 10:34 with the clarinet introducing the other parts, and it is more soft than the previous section.
Timbre: In the beginning, all that is playing sounds like mostly a clarinet, flute, and possibly a violin. In the section beginning at 5:34, it is primarily aerophones, with flutes and brass. Then at 6:06, it switches back to flute along with violin, viola, and bass, along with some aerophones like trumpet as well. The tone in the section beginning at 7:49 takes on a much darker tone than the other two.
Dynamics: The dynamics are fairly soft in the beginning, then when the new section is introduced at 5:34, the piece goes from a piano to a forte rather abruptly. The chordophones crescendo at 7:15 even louder.  At 10:34, the piece is drastically piano again, in a much more soothing way.
Texture: The piece is polyrhythmic, as most of the parts move at different rhythms. The piece is very legato at the beginning, and then becomes more frantic and the tempo picks up at 5:34, when a new section begins. This then takes on more of an allegro tempo. There are some parts of the piece where some instruments do play the same part.

Listening Journal Composer Research: Tchaikovsky

Listening Journal Composer Research: Tchaikovsky
Pyotr Tchaikovsky was a Russian composer during the late Romantic period. At the age of 53, he died of cholera suddenly.
Where do they fit into the Romantic Era?
Inspired by the death of his mother in 1854, Tchaikovsky began to compose, and made a waltz for her memory. Later, he relied on orchestration for many of his pieces. Tchaikovsky was also highly influenced by the workings of other Romantic composers, such as Franz Lachner and Jules Massenet, as when they began composing orchestral suites, he tried to as well.
What unique compositional styles did they have? What did they contribute to the development of music? What beliefs about music did they espouse?
Tchaikovsky had many different melodic styles. Mainly, his melodies did not progress or grow in any certain way, it more just repeated itself. Modulations were not very common in Russian culture, so they were not used as much by Tchaikovksy. He did very often make use of repetition in many of his pieces. Tchaikovsky advanced Russia with his compositions, as well as impacted absolute and programme music. His main concern while composing was how the aesthetic of that piece would impact the audience. Tchaikovsky wanted to appeal to his audience, and make a good experience. It has also been said that due to 18th century melodies and patriotic themes there was a strong undertone of Russian aristocracy.
Well-known work by composer:

Romeo and Juliet-Fantasy Overture

Elements of the Romantic Era: 

There are many occurrences of text depiction in this piece. Such as the love theme, at 3:20 and 4:50. This theme symbolizes Romeo and Juliet first meeting, and then their reconvening at the balcony. The two large cymbal crashes at 5:53 symbolize the suicide of Romeo and Juliet. Like many other Romantic pieces, this was a programme music piece. Much like Tchaikovsky's melodic style, the main love theme does not particularly develop or progress, as it more just repeats itself throughout the piece, such as at 3:20 and 4:50. Tchaikovsky usually did not do much to progress a melodic thing in his pieces.

Jupiter Fourth Movement by Mozart Listening Journal

I am analyzing Mozart's Jupiter Fourth Movement:
Melody: While the range for all the parts is wide, the melody is still fairly conjunct as the notes mostly just go step-wise in regards to each other.This piece is a symphony.
Rhythm: The tempo is allegro, as the piece tends to be moving at a fairly quick pace throughout, with a great variation in dynamics.
Pitch: All parts have a very wide range in regards to pitch, as all of them go up almost an octave (possibly more) at some point in time during the piece.
Timbre: There are both chordophones and aerophones. There are violins, cellos, trumpet, flutes, violas, and possibly a trombone. It sounds like there are either five or six parts in all. The tone is more bright and lively.
Dynamics: Mozart makes use of dynamics very well, such as growing quieter and then forte at 5:43, which is something that tends to happen several times.
Texture: This piece is homophonic, as there is a main melody (though the part with the melody fluctuates a bit), as well as parts to harmonize with and accompany that main melody.

Orfeo and Euridice: Excerpt from Act II, Scene I by Christoph Willibald Gluck Listening Journal

I am analyzing an Excerpt from Act II, Scene I of Gluck's Orfeo Euridice:
Melody: The melody is mostly conjunct, as it moves fairly stepwise, this seems to be consistent throughout this section of Act II Scene I.
Rhythm: The tempo is more adagio than anything else, as it moves fairly slowly, like it is introducing a new concept.
Pitch: The top part has a fairly wider range, as it goes both in the lower and the upper octave. The pitch for the other instruments stays fairly in a limited range.
Timbre: There is a violin, a cello, and a viola. This could easily be a part for a string quartet, played by the orchestra during this opera. There are only chordophones, and the tone of this piece sounds almost introductory.
Dynamics: The piece starts at a mezzo-forte, and has different dynamics within it. At 0:19, there is a decrescendo and then an accented note several seconds later. There is another decrescendo right before the end of the piece. The volume fluctuates from piano to forte and back throughout 0:53-1:10.
Texture: The piece is homophonic, as there is one distinct melody which is then accompanied in harmony by a few other parts.

Listening Journal- Brandenburg Concerto Two, Movement One by Bach

The piece I am analyzing is Movement One of Bach's Brandenburg Concerto Two.
Melody: The melody is mostly conjunct for all parts, even though the ranges are very wide. The conjunct just means that the piece moves mostly step-wise. Though the majority of the piece is conjunct, a few parts seem to be very disjunct.
Rhythm: The tempo is allegro, as the piece moves fairly quickly.
Pitch: The range of the flute is very wide, as they go from lower notes to higher notes. This seems to be the case for many of the instruments playing in this piece.
Timbre: There is a flute, a trumpet, an oboe, violins, and a viola. There are both aerophones and chordophones. The tone color of the piece is lively, and vibrant.
Dynamics: The dynamic seems very mezzo-forte at first, but starting at 0:25 it goes down to piano. It then gets to mezzo-forte again at 0:30, as the other instruments join in with the violin. At 2:40, a new section comes that is more piano, as a louder instrument is taken out of this section.
Texture: The piece is polyphonic, as there are many different parts being played at the same time throughout the piece.
****Fun note: Section 3:25-3:35 of the trumpet part of this piece sound sort of like part Adele's song, Million Years Ago. I'm wondering if maybe she sampled from this while writing it, it's particularly when she sings, the chorus. Just something cool I noticed.

Listening Journal- Thrice Happy Lovers by Henry Purcell

The piece I am analyzing is Thrice Happy Lovers by Henry Purcell, from his opera, The Fairy Queen.
Melody: The melodic intervals are mostly conjunct, as they move step-wise. The piece seems to be in a major key.
Rhythm: The tempo of the piece is adante, and it does not really change as the piece carries on.
Pitch: The male singer has a smaller range, as he mostly stays in between the low and the high notes throughout.
Timbre: There is a male singer, and the main accompaniment seems to be an older sounding piano (I genuinely cannot figure out what this instrument is).
Dynamics: There is a decrescendo at 1:30, and the piece starts out at mezzo-forte. The piece essentially stays at a mezzo-forte throughout its entirety. The piece sounds more like a recalling, or remembering, rather than nostalgic or sad.
Texture: The piece is strophic, as it has a chorus and different voices, the chorus starting with the lyrics "Thrice happy...". The piece is secular, and in English. It is homophonic, as it has one main melody with a simple accompaniment.

Listening Journal- Altri Canti d'amor, Tenero Arciero by Monteverdi

The madrigal I am analyzing is Altri Canti d'amor, Tenero Arciero by Claudio Monteverdi.
Melody: The melody is mostly conjunct, meaning the singers have smaller intervals to sing, and nothing to spread apart.
Rhythm: The tempo of the piece up until 3:28 is adagio, and then picks up to be more lively and quick. During this section it seems to be more andantino.
Pitch: The pitch of the lower female singer stays fairly consistent, and within a smaller range, staying towards the lower notes. The pitch of the upper female singer is also fairly consistent, with a small range, and stays in the higher notes. The low male voice stays relatively low the whole time, within a small range.
Timbre: There seem to be violins, and possibly viols. It mostly sounds like there are many chordophones . There are also three singers, one male, and two female. After 3:28, though, a second male voice is added, seeming to be higher than the original one. Up until 3:28, the piece sounds melancholy, or nostalgic, but picks up after that to sound very purposeful. Though starting at 5:51- 8:12, the lower male singer is solo, until then rejoined by the other singers. At 9:43, they all sing in unison until the end of the song.
Dynamics: From 1:21- 1:26, the singers sound like they slightly crescendo and then decrescendo. This also happens in 3:17-3:22.
Texture: The piece is polyphonic, because three different voices are singing and accompanied by the instruments. This piece is also secular.

Listening Journal: Ave Maria by Josquin des Prez

The motet I am analyzing is Ave Maria by Josquin des Prez. This piece was published in 1485, and it is verncaular, as it is in Latin and a sacred text. The timbre is that there are four different parts, two male and two female voices, unaccompanied by any instrumentation. The piece is sung as legato, so the phrases connect together. The tempo of the piece is more adante, as it is slow, but steadily moving forward. The piece is mostly conjuct, as it moves step-wise. With the structure, the piece seems to vaguely relate to Gregorian chant. The dynamics throughout the piece are mostly consistently at a mezzo-forte, but does decrescendo into piano at about 4:05, and gradually works back up to mezzo-forte for the remainder of the piece. The overall tone and mood of the is very worship-esque, and very much a sacred text.  

Medieval Composed Listening Journal: Franco of Cologne

The composer I am looking at is Franco of Cologne and his style of composing. He was primarily a music theorist, but he was also a composer. Franconian notation was developed from his writings, resulting in the basic shapes for notes, and enhanced the possibilities for compositions to come. The idea of Franconian notation itself is that a note should be held for a certain duration based on how it is written on a page, not based on context. Franco even has a motet named after him, the Franconian Motet. An example of a Franconian Motet would be Amours mi font.

Medieval Instrument Listening Journal- Shawm

The medieval instrument I have chosen is the shawm. The shawm is a big part of the medieval era. It is a double reed instrument. The tone of this instrument is sort of piercing. The music coming out of it is a bit shrill, and it sounds like it is quite loud. Just from this small excerpt played with the shawm, it does not seem like a wide range of dynamics are possible, seeing as how this was played at mezzo-forte the entire time. The range is fairly large, as the shawm seems to go into two octaves throughout the excerpt.

Requiem Mass in D Minor- Lacrimosa by Wolfgang Mozart and Hungarian Rhapsody No. 2 by Franz Liszt

This song is Requiem Mass in D Minor- Lacrimosa, by Wolfgang Mozart. The era it is is classical. It's musical elements and structure is as follows:

Melody: The song is mostly conjunct, moving step-wise. The range is fairly large, particularly when the female voice starts low and builds up during the chorus, slowly going higher and higher.

Pitch: The entire song is in D Minor. 

Rhythm: The song mostly remains at a consistent tempo throughout. It is at a moderate pace throughout the whole piece. 

Timbre: The instruments in this song seem to be violin, male and female voices, flute, and clarinet. The tone of the piece is dramatic throughout, and it builds tension as the piece goes on. 

Texture: There is an ostinato with the violins in the background throughout the whole song. It seems to be polyphonic, as there are multiple parts for the voices, but they harmonize with each other. 

Dynamics: The song begins at piano and quickly crescendos to the end of the first phrase. The voices remain at piano. throughout the song, the quietest it reaches sounds like pianissimo, and the loudest it reaches sounds like forte. The song ends on a crescendo.

 

This song is Hungarian Rhapsody No. 2 in C# Minor, by Franz Liszt. The era it is is romantic. It's musical elements and structure is as follows:
Melody: The song is very disjunct, and has a large range throughout.
Pitch: The entire song is in C# Minor.
Rhythm: The tempo in the beginning is slower, and gets faster at the parts in the song that are more whimsical. At about 5:00 minutes in, the song speeds up, then slows down. However the song is at rather fast at about 6:00 minutes in, when the tone changes to make it much more vibrant and lively. At 8:00 minutes in, the song is at it's fastest.
Timbre: The instrument in this song is a piano. The tone is dark and mysterious at first, but gets rather whimsical at about 2:10 minutes in, then reverts back to dark and ominous rather quickly. The piece seems to contrast itself in many ways. At 6:00 minutes in, the song becomes light and airy and overall happy. At 8:00 minutes, the piece gets rather frantic, moving extremely quickly.
Texture: The piece seems to be monophonic, as it has one main melody accompanied by a harmony in the background.
Dynamics: There are accents above a few notes in the first few measures. The piece starts off as piano, then with the few dynamics eventually remains at piano. There seem to be crescendos at different points in the piece, particularly when it so drastically changes it's tone. At 8:45, there is a decrescendo as the song begins to come to it's end. The song ends with the dynamic of piano, and the only time the song is forte is at the parts that seem frantic and where the tone changes, such at 6:00 and 8:00 minutes in.

Similarities and Differences Between the Two:
Both pieces are in a Minor key, though the Rhapsody is in C#, and the Requiem is in D. The Liszt piece makes much more use out of dynamics and range than the Mozart piece, despite only using one instrument whereas the Mozart piece has far more. The Mozart piece is far more disjunct, jumping around, while the Mozart piece tends to go step-wise, making it more conjunct. The difference between the two eras is very prominent and evident.

Part Four

These are pictures of the analysis I did of the first 17 measures of "Moonlight Sonata". 

Part 3 Deciphering the Score

Titles/Forms: Sonata No. 14 "Moonlight"

Tempos: Adagio Sostenuto- a slower tempo. 

Stylistic Instructions: Sempre pp e senza sordino- very quiet throughout and without dampers; dampers meaning the pedal on the piano. 

Techniques: Pianissimo is written twice, to remind of how quiet this part of the piece is supposed to be. 

Articulation: No text, so nothing to articulate. No specific dynamics besides the two pianissimos are present. 

Part Five: Communicating Your Discoveries: Moonlight Sonata

What makes this song unique is the way it is structured, and how the composer put it together. For instance, there are a bunch of little rule-breaking, unique things that make it special. The very first note is a tonic note, and the tonic note is supposed to go to a predominant chord if it is the note the piece starts off with, but Beethoven wrote the tonic to go to a dominant chord, the seven chord. It is similar to other music we have discussed in class because it is from relatively the same era as many of the other pieces we have looked at, classical. It is different from some of the music we have looked at in class because it tends to break a lot of the rules there are when it comes to writing music. The aspect of this piece that I find the most enjoyable is it's tone, and timbre. The way it sounds as if it was only meant for a piano, and then suddenly violins are in the background, perhaps a flute, and the ominous "oh"s of a female voice cause chills through the listener.

Part Two Aural Analysis- Moonlight Sonata

Moonlight Sonata is by Ludwig van Beethoven, and was completed in 1801. It is a classical piece. As for musical elements:
Melody: The first movement has a smaller range than the next two, though the third movement has the largest range out of all of them. The first and second movement are fairly conjunct. The third is more disjunct than the first two.
Pitch: The first movement is in C# Minor. The second movement is in D flat Major. The third and final movement is back in C# Minor.
Rhythm: The song is split into 3 movements. In the first movement the tempo is Adagio sostenuto, which is a slower tempo. The second movement is Allegretto, which is a fairly brisk tempo. The third and final movement is Presto agitato, which is played quickly and with excitement.
Timbre: The instruments played in this piece are the piano, the violin, the flute, and a female voice, as far as I can tell. The overall tone of the piece is dark, and somewhat mysterious.
Texture: The piece seems to be monophonic, as it has one main melody and is accompanied in the background by the violins and the occasional female voice.
Dynamics: The first movement is the softest of the three. The second movement is soft in the beginning, and then crescendos. The third movement is the loudest of the three, with many crescendos in it.

Song Choice for Extended Analysis Project

For the extended analysis project we have to do in class, I chose Beethoven's Moonlight Sonata. I chose this song because I really love how rich and mysterious it sounds, and I feel I will not grow bored of it. It does not seem to be too complicated, and I am excited to use this piece.