Music Composition Sheet Essay

At the turn of the century, medicine was characteristi clavery late wild-eyed in style. Composers such(prenominal) as Gustav Mahler, Richard Strauss and Jean Sibelius were pushing the bounds of Post-Romantic symphonic writing. At the same(p) time, the Impressionist movement, led by Claude Debussy, was being true in France. The term was actu al 1y disliked by Debussy I am trying to do something differentin a way realitieswhat the imbeciles call impressionism is a term which is as poorly utilize as possible, oddly by art critics and Maurice Ravels medical specialty, also often designate with this term.Many composers reacted to the Post-Romantic and Impressionist styles and moved in quite different directions. The hit most important moment in defining the course of unison end-to-end the century was the widespread break with traditional tonality, effected in diverse ways by different composers in the first ex of the century. From this sprang an unprecedented linguistic plurali ty of styles, techniques, and expression. In Vienna, Arnold Schoenberg essential atonality, out of the expressionism that arose in the early on part of the 20th century.He subsequently developed the twelve- character technique which was developed tho by his disciples Alban Berg and Anton Webern later composers (including Pierre Boulez) developed it further still. Stravinsky (in his last works) explored twelve-t sensation technique, too, as did many other composers indeed, even Scott Bradley partd the technique in his scores for the Tom and Jerry cartoons. After the First humanity War, many composers started returning to the past for inspiration and wrote works that draw elements (form, unison, dividing line, building) from it.This type of music thus became labelled neoclassicism. Igor Stravinsky (Pulcinella and Symphony of Psalms), Sergei Prokofiev ( authorised Symphony), Ravel (Le tombeau de Couperin) and Paul Hindemith (Symphony Mathis der Maler) all produced neo class ical works. After World War 2, composers sought to achieve greater levels of control in music in their gentlemans gentlemans (e. g. 12 tone technique and later serialism). The twelve tone technique is a technique ensuring the use of all 12 notes in the chromatic scale, this prevented the unbalanced emphasis on individual notes.In the 1940s and 50s composers, notably Pierre Schaeffer, started to explore the finishing of technology to music in musique concrete (Dack 2002). The term Electroacoustic music was later coined to include all forms of music involving magnetic tape, computers, synthesizers, multimedia, and other electronic devices and techniques. From the early 1950s onwards, Cage introduced elements of chance into his music. This has resulted in various musical techniques such as indeterminacy, aleatoric music, music, intuitive, and free improvisation. In the 1970s and onwards, new technology was for sale and used in classical music.This new technology was experimented wit h and improvised that same key qualities of basic classical music, entirely had newer and broader styles and techniques (e. g. 12 tone technique). This parting in section A of the piece conveys a short disposition of variety in the musical concepts (bars 6-7). The vivid take motion doneout this section is due to its dissever of late Romanticism (early 1900s). Romanticism was an stimulated and expressive period of time where many different cultures, art, architecture and music was impacted by the social status of this time.Music in prevalent was driven by this emotion and hardship that underwent at the time i. e the French revolution. This emotion gave the composers much to a greater extent expression and diversity, with less formalness and structure (a characteristic of music of the classical period). With this new coetaneous classical style of music, the ideas and implementations of previous styles and periods had an effect on the way this music was played, i. e. the sway motion and range of mixed high-powers. In this section is phrasing slurs atomic number 18 used to join the notes together to reconstruct its line of work into being more sway like giving it a legato motion.In the harmony a short part of an arpeggio is played and graduated into a square chord finishing the scale. This repetitive motion of the harmony in the left(a) hand has created a slight question and answer between the melody and harmony in this section. This component from section B of the piece is a variation of the first part, with added techniques, dynamics, notes, and variety to build more expression into the piece (bars 14-15). The expression of the composers of this time period in post-1945 was shown through the sorrow and despair of World War II. by dint of the devastation and war experienced by the composers at this time, the change in variety and diversity of pitch was token(prenominal), but the feeling experienced were immense. These immense feelings portrayed i n the massive widening of dynamics and expressive techniques used in these contemporary classical styles, and further developed this category of music. This section uses broken chords in the harmony to build the tempo and texture from the section A. whilst the melody is still similarly organise but further developed in the use of notes values. This component shows the novelty of section B into the new section C.In this transition the dynamic change gradually to fit the expression and use of whole (triad) chords in section C. The use of the Crescendo into forte, portrays a wide variety in dynamics throughout the piece (the previous sections were piano and mezzo-piano, from above). Forte in the next section conveys the composers anxiety and anger in this time of war, and conveys to the answerer through this wide range of dynamics the emotions and distress people went through during this time. This component conveys the transition between section C and section D.Through this transit ion the dynamics change from a forte (loud) to a very softly (very soft), these dynamics open up the piece a wider range in harm of dynamics and convey a lot more expression to the responder. The melody however is similar but in a higher octave, this give the piece a sequence and conveys the idea of repetition throughout the piece. The slow-wittedness of section D get thinner, as the harmony is reduced to one note played with longer note values, i. e. semibreves. Composers during this period of post-1945 used a wide range and variety of dynamics to expressive themselves with the troubles and hardships they went through afterward the war.This variety is vivid in this piece as this section contains that branch from forte to pianissimo. Throughout this composition the ideas, implementations and characteristics of contemporary classical music pass on been vivid throughout this composition. I believe the use of the six concepts postulate been diverse through this piece and have tr uly illustrated the sound and tone of contemporary classical music. Throughout the piece, the dynamics have changed rapidly and shown a large variety of expression and emotion in the composition.The use of one instrument in the composition has shown the audience that the composers for Contemporary Classical music have independence on lots of instruments and thick density, as this does not convey emotion as easy of thin density pieces. The structure of theme and variation, a common structure used in contemporary classical, often used to build and gradually strengthen the motif or chord progression of the piece, this creates suspense and other emotions to the listeners. The techniques used were quite minimal but, strong i. e. the legato, slurs, broken chords.The duration of the notes and piece were quite wide in range, and diverse in created a multiple of different variations of the melody. The tone color of the piece was very emotional in the way of being sad, spooky, and grungy bu t happy in the sense that the sound was evolving into something brighter with a air current of darkness. Overall this composition created for the annual Young Composers Symposium has conveyed the aspects and characteristic of Contemporary Classical music to the audience, and has successfully illustrated the musicological context of the style in growth the use of the 6 concepts in the composition.