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Music Interpretation

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PAPER 3 TEMPLATE and COVER SHEET

Title of music example as given in the link name: | Piece No. 1 | Your Paper Title: | Cheerfulness and Regality | Course number, course name | HUM 2510, Understanding Visual and Performing Arts | CRN | 11029 | Semester | Spring 2013 | Date submitted: | 3/22/13 | Preceptor Name: | Parker Hathcock | Instructor Name: | Corie Montoya | Total Word Count (excluding cover page and any list or chart you may include) | 1,044 |

2. Introduction / response / statement of over-all effect Upon first hearing this piece, I was completely uplifted in mood. The sharp and fast paced strings instruments gave off a cheery and lively vibe that resonated very well with me. When I first heard this piece, it reminded me of weddings, both ones I’ve attended and seen in movies. It also invoked images of a regal castle or kingdom. The common thread between those two images is the sacred or regal feeling involved in both, cheery, yet with a serious underlying feeling. The horns in the background also remind me of a kingly or royal vista because they have a sound so similar to the bugles played in the courts. The more subdued middle section of this piece altered the mood, but not completely. It was still the same friendly tone and cheer, just softer and less distinguishable. It was the calm in between the bouts of revelry insinuated by the first and last section of this piece. The transition from the soft, calming sounds back to the fast-paced parts was abrupt and helped show the air of spontaneity this piece has. I chose this piece because it was simply the one I liked the best, and the most similar to pieces I have listened to and enjoyed when I used to play instruments. The overall tone sat well with me, and I could listen to it a hundred times and not get bored because of the excitement in every note.
3. Description
a. General structure
This piece is divided into three parts. The first part is a louder, more upbeat section with a medley of brass and string instruments with faint percussion in the background. The piece repeats the same motif a few times and then abruptly transitions into a more piano piece with a completely different melody. The tempo does not change in this transition, but the melody and sound difference are enough to make this section contrast strongly with the original, as well as the absence of the percussion. They are occasional spikes in loudness during the quieter part, but the transition back to the original motif is still abrupt. The original motif is then played a few times, and then it ends.
b. Temporal (time-related) qualities
The tempo of this piece for the initial and final sections was quite easy to find. It is very obviously triple meter during these two sections and quite fast. During the middle part, the tempo may have slowed down just a little bit, but it was much harder to find the beat when the instruments are playing so softly and the percussion is absent.
c. Instruments and/or voices used
The instrument groups used in this piece were the strings, the brass, and some percussion in the beginning and ending. The strings seem to be composed as a large group, creating the majority of the sound. The brass instruments, most likely trumpets and trombones, are more than one, but not on equal quantity with the strings. The percussion on snare seems to be a lone player, with no other percussionists. The timbre of this piece is quite fluid; the brass and string instruments seem to meld together and produce one sound for the majority of this piece.
d. Dynamics (loudness and softness)
The level of sound changes a few times in this piece. The piece is quite loud in the beginning, and then abruptly goes soft for the middle section. The contrast between the dynamics creates an exciting vs. calming effect for the piece. The sound picks back up for the end of this piece, again starting abruptly. It transitions from a soothing, quieter sound to a loud, exciting section quickly.

4. Formal analysis – what makes this composition a unified whole? The unity of this piece is expressed in many different ways. One of the first examples is the repetition of the initial and final parts, in spite of the different middle section. The first and last sections are both forte, with the brass, string, and percussion all performing together in the same tempo. This brings together the piece and wraps it up the same way it started, giving it a distinct sense of completeness. Another aspect of the unity in this section comes from the same instruments being used throughout the piece, in spite of the other changes. While the percussion and brass may be absent in the middle section, the strings are present the entire piece and even though their melody changes, it contains remnants of the one it previously played. The old melody is spiritually succeeded by the new one. A third sign of the unity in this piece is the same tempo throughout. The meter is always triple, even if the sound changes, or the piece slows down. This also gives the sense of completeness in spite of any other differences. These three things together make this piece a composition and not just differences in noise.
5. Conclusion I still feel this piece is exciting and uplifting, and it still invokes the same feelings and images as before. The use of the strings, percussion, and the brass all together in a loud dynamic are the main contributing forces to the upbeat and happy mood. The triple meter and fast tempo contribute to the waltz-like and regal characteristics, along with the mental picture of the court. The softer dynamic in the center with its slower tempo still represent the calmness in between the bouts of revelry. The steady, and soft string spike with dynamic to let you know that the piece isn’t over and will start again, while the abrupt transition still exudes the air of spontaneity that you may see in a wedding reception or a medieval court party. The single use of strings throughout the piece draws the entire thing together. The slower and quiet section wouldn’t seem still cheery and upbeat if it didn’t have the connecting factor of the strings playing a similar motif throughout. The spikes in sound also contribute to unify these pieces together, and remind you of the beginning. Without this unity, the middle section would seem much darker and out of place in this composition, sounding more befit of a more sacred and more serious locale.

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