...written in a programmatic style. Above all this, Berlioz was one of the pioneers of the Romantic period, inspiring through his innovation of ideas such as the ‘idée fix’ and as some saw it, his disregard for the ‘Viennese Architectural Legacy’ and ‘rules of composition’. The ‘idée fix’ was Berlioz’s most famous creation as it enabled him to take a more narrative approach to his composing. This was important as it contrasted from the strongly structured music that had come before him. The idée fixe is used to unify the disparate elements of the symphony in ‘Symphonie Fantastique’. Another talent Berlioz was gifted with was the art of orchestration. Although, it was not an advance that was received well at the time, it had an overarching effect of great significance. Berlioz demonstrated his talent in his first symphony, ‘Symphonie Fantastique’. This work was the first of four symphonies that Berlioz composed. ‘Symphonie Fantastique’ was composed in a programmatic format. Berlioz may well have been the first great composer to not be able to play a musical instrument, nor to have shown any musical talent at an early age. But he persevered, and became interested in different ways to use the orchestra and the different combinations of instrumental sounds. In 1844, he wrote a book on orchestration which he named, “Traite de l'Instrumentation” which is still widely appreciated and used today. Berlioz' advances in this area contributed greatly to the growth and development of the modern...
Words: 508 - Pages: 3
...point as references to mind altering drugs were appearing in Beats poems and essays and even protest songs of the middle 1950s. As music progressed through the year’s drug use (by artists and fans) and references became more mainstream. This paper will look at two specific band, The Beatles and the Grateful Dead. Rock and Roll on Drugs Drug use and music have been intertwined for many years. This use whether illegal or legal has had both positive and negative impacts on the artists and their success. While the creative juices may be flowing while under the influence of drugs the final outcome (maybe years down the road) almost always ends on a negative note. Even dating back to 1830 when Hector Berlioz wrote his most famous work “Symphonie Fantastique” he detailed the effects of an opium induced dream, specifically in the fourth movement. In an interview on June 16, 1967, Paul McCartney was asked if he ever took drugs, he said “After I took it (LSD), it opened my eyes. We only use one-tenth of our brain. Just think what we could accomplish if we could only tap that hidden part. It would mean a whole new world." (Spangler, 1967) During the late 1960s there was a counterculture, teens of the day were disillusioned with society, the Vietnam War and the assassinations of John F Kennedy, Martin Luther King, and Robert F Kennedy. To deal with these realities they turned to drugs that got progressively stronger. This was all...
Words: 1507 - Pages: 7
...M5RW 1. Identify the distinctive stylistic features of Romantic music. The romantic era (1800-1850) in music is made by large pieces of work that start to make bigger orchestras with bigger sounds. This music places a strong point on “stirring emotions” within the listener, and doesn’t have to do with the emotion of “love”. Romantic composer made this by writing more complicated music. They use key changes, dissonance, and chromatics a lot. This was done by improving instruments that was played in music theory and teaching how to write music. Beethoven played a major part in bringing music into this new style, and his 3rd symphony is a prime example. Few Romantic composers were Schumann, Chopin, Rossini, and Tchaikovsky. Few characteristics of Romantic music are intense expression of emotions, more freedom in the structure (form) of the music, more complex use of tone and rhythm, larger orchestras/developments in wind instruments, greater technical virtuosity, sense of “nationalism” in musical styles, and links music with other art forms. 2. Discuss the romantic orchestra, program music, nationalism, and exoticism. Romantic orchestra has a wider range of instruments and pitches. It has many more players than a classical orchestra. Romantic orchestra was used in different ways. For example, composers start to use more adventurous techniques like flutter-tonguing on the woodwind instruments and col legno on string instruments. Romantic orchestras have larger...
Words: 1495 - Pages: 6
...GRADE 9 Learning Module MUSIC (Qtr 1 to 4) Compilation by Ben: r_borres@yahoo.com MUSIC LEARNER’S MATERIAL GRADE 9 Unit 1 To the illustrator: Using the blank map of Europe, place pictures of ALL the composers featured in EACH UNIT around the map and put arrows pointing to the country where they come from. Maybe you can use better looking arrows and format the composer’s pictures in an oval shape. The writers would like to show where the composers come from. I am attaching a file of the blank map and please edit it with the corresponding name and fill it the needed area with different colors. Please follow the example below. (Check the pictures of the composers and their hometowns in all the units.) Medieval, Renaissance and Baroque Music Page 1 MUSIC LEARNER’S MATERIAL GRADE 9 Unit 1 Time allotment: 8 hours LEARNING AREA STANDARD The learner demonstrates an understanding of basic concepts and processes in music and art through appreciation, analysis and performance for his/her self-development, celebration of his/her Filipino cultural identity and diversity, and expansion of his/her world vision. key - stage STANDARD The learner demonstrates understanding of salient features of music and art of the Philippines and the world, through appreciation, analysis, and performance, for self-development, the celebration of Filipino cultural identity and diversity, and the expansion of one’s world vision...
Words: 24362 - Pages: 98
...Unity and Variety 1 The Concepts of Unity and Variety Let's begin by listening to two fundamental concepts that make a piece of music "work"—the concepts of unity and variety. Most people like hearing sounds that they find pleasing, memorable, and familiar. Within a given composition, the feeling of familiarity—fostered by, among other things, reiterations of a music idea—lends a sense of unity to the music. Whereas unity satisfies the human need for sameness and familiarity, variety sustains our interest and appeals to our need for, and enjoyment of, the new, different, and unexpected. To illustrate the relevance of these concepts, listen to how they are used in a piece of music by George Frideric Handel, a very famous musician who lived between the 17th and 18th centuries and whose music remains popular to this day. George Frideric Handel See Here the Conqu'ring Hero Comes George Frideric Handel Born: 1685 Died: 1759 Period: Baroque (1600-1750) Country: Germany/England See Here the Conqu'ring Hero Comes is one of Handel's most popular pieces. Three minutes and three seconds (3:03) long, it is a movement within a longer composition entitled Judas Maccabaeus written for an ensemble (group) of musicians. If you think of Judas Maccabaeus as a book, then See Here the Conq'ring Hero Comes acts as a chapter in that book. A movement may be enjoyed by itself; however, like a chapter in a book, it also fits into the structure of a larger composition. While you listen...
Words: 12552 - Pages: 51
...THE HISTORY OF MUSIC The Middle Ages 450-1450 Characteristics of Music Music comes from the Ancient Greek muses, who were the nine goddesses of art and science. Music actually began around 500 B.C. when Pythagoras experimented with acoustics and how math related to tones formed from plucking strings. The main form of music during the Middle Ages was the Gregorian chant, named for Pope Gregory I. This music was used in the Catholic Churches to enhance the services. It consisted of a sacred Latin text sung by monks without instrumentation. The chant is sung in a monophonic texture, which means there is only one line of music. It has a free-flowing rhythm with little or no set beat. The chants were originally all passed through oral tradition, but the chants became so numerous that the monks began to notate them. Music in Society Towards the end of the Middle Ages, about the 12th and 13th centuries, music began to move outside of the church. French nobles called troubadours and trouveres were among the first to have written secular songs. Music of this time was contained among the nobility, with court minstrels performing for them. There were also wandering minstrels who would perform music and acrobatics in castles, taverns, and town squares. These people were among the lowest social class, along with prostitutes and slaves, but they were important because they passed along information, since there were no newspapers. Links to Composers...
Words: 2719 - Pages: 11
...Moldenhauer Archives at the Library of Congress | Table of Contents Music History from Primary Sources An Introductory Essay Alfred Mann A vellum leaf, 22 by 17 cm., from a prayer book. The letter forms of early Gothic script suggest the twelfth century, or a period even earlier. Neumes (marked in red) are placed above the first four lines of the Latin text. The entire page is richly illuminated in black, red, and blue, with a heavy gold layer decorating the initial A for the phrase beginning "Adoro te." The leaf was obtained for the Moldenhauer Archives from the music dealer and publishing firm Schneider, Tutzing. The Art of Musical Notation In its primary sources, music merges with the representational arts. Oral tradition has played a fundamental role in all ages, but in its formal sense, history--and the history of music--begins with the visual record. Musical notation, having emerged on a wide scale in all civilizations, produced in itself a highly individual record of artistic endeavor. The medieval monks who compiled the missals and other liturgical books for the service of worship rose from their function as scribes to artists in their own right; among the greatest documents of Baroque art are the holographs by Bach; and an entirely novel phase in artistic musical score design was initiated in the twentieth century. The primary sources of music reproduced in this volume rely on various aspects of the graphic arts, but foremost among them stands the representation...
Words: 19702 - Pages: 79
...EL James CINQUANTE NUANCES PLUS SOMBRES Dépassée par les sombres secrets de Christian Grey, Ana Steele a mis un terme à leur relation pour se consacrer à sa carrière d’éditrice. Mais son désir pour Grey occupe toujours toutes ses pensées et lorsqu’il lui propose un nouvel accord, elle ne peut y résister. Peu à peu, elle en apprend davantage sur le douloureux passé de son ténébreux M. Cinquante Nuances, toujours aussi passionné. Tandis que Christian lutte contre ses démons intérieurs, Ana doit prendre la décision la plus importante de sa vie. 1 Du MEME AUTEUR Cinquante nuances de Grey, Lattès, 2012. www.editions-jclattes.fr roman Traduit de l'anglais par Amélie Tronchet JC Lattes Titre de l'édition originale Fifty Shades Darker Publiée par the Writer's Coffee Shop Publishing House, Australie, 2011 Couverture : Atelier Didier Thimonier, d'après le design de Jennifer McGuire Illustration : E. Spek/Dreamstime.com ISBN : 978-2-7096-42538 Fifty Shades Ltd, 2011. L'auteur a publié précédemment sur Internet Master of the Universe, une version en feuilleton de cette histoire, avec d'autres personnages, sous le pseudonyme de Snowqueen's Icedragon. Tous droits réservé. 2013, éditions Jean Claude Lattès pour la traduction française. (Première édition janvier 2013) PDF de Nini91 Pour Z et J Avec mon amour inconditionnel, pour toujours 2 Prologue Il est revenu. Maman dort ou bien elle est de nouveau malade. Je me recroqueville sous la table de la cuisine pour me cacher...
Words: 172234 - Pages: 689
...Easy French STEP-BY-STEP Master High-Frequency Grammar for French Proficiency—FAST! Myrna Bell Rochester New York Chicago San Francisco Lisbon London Madrid Mexico City Milan New Delhi San Juan Seoul Singapore Sydney Toronto Copyright © 2009 by The McGraw-Hill Companies, Inc. All rights reserved. Except as permitted under the United States Copyright Act of 1976, no part of this publication may be reproduced or distributed in any form or by any means, or stored in a database or retrieval system, without the prior written permission of the publisher. ISBN: 978-0-07-164221-7 MHID: 0-07-164221-8 The material in this eBook also appears in the print version of this title: ISBN: 978-0-07-145387-5, MHID: 0-07-145387-3. All trademarks are trademarks of their respective owners. Rather than put a trademark symbol after every occurrence of a trademarked name, we use names in an editorial fashion only, and to the benefit of the trademark owner, with no intention of infringement of the trademark. Where such designations appear in this book, they have been printed with initial caps. McGraw-Hill eBooks are available at special quantity discounts to use as premiums and sales promotions, or for use in corporate training programs. To contact a representative please visit the Contact Us page at www.mhprofessional.com. TERMS OF USE This is a copyrighted work and The McGraw-Hill Companies, Inc. (“McGraw-Hill”) and its licensors reserve all rights in and to the work. Use of...
Words: 95898 - Pages: 384
