Chapter 1 Structure And Form Study Guide

History timeline assignment: 1.) Establishment of the Station 1828-1838- Between 1828 and 1984 North Head was used as a site for the Quarantine of people infected or having any suspension of carrying infection or any disease. The first ship to be quarantined in Spring Cove was the convict ship the Bussorah Merchant for an outbreak of smallpox. The convicts and their guards were housed in tents on shore.

When the song starts, the melody is a what catches the audience’s attention. The song starts with low piano

The song ends with Idea B at the start of 4:16. Unity and variety is put in this piece through dynamics, timbre and pitch. The song adds variety by increasing the volume during Idea B. Idea B is unified in the piece keeping the same instruments as Idea A to keep the rhythm. The dominant instruments during Idea B introduces new sound sources and adds variety to the piece.

Upon investigation he found a little child sleeping in a hammock which was being gently swayed by the breeze. The sound made by the rusty hook appealed to him and he immediately jotted it down, and then and there composed the “Cradle Song.” It will be readily noticed by those who have again the pleasure of hearing the “Cradle Song” that the opening bars closely resemble the sound made by a rusty hook swinging in the ring. The other strain pervading the composition is one which the composer has always had in his

The Analysis: I) EXPOSITION • The Symphony opens with the F-A-F motif, making in a way a clear statement of how prominent its presence is going to be throughout the whole Symphony. In immediate succession of the opening, comes the first theme, mostly consisting of a descending melodic pattern followed by a varied repeat and an extensive continuation in which the theme’s basic idea undergoes a series of developmental processes, such as extensions accelerations and fragmentations, until finally reaching a rather weak, inconclusive IAC on Bar 14.

Although this is somewhat long duration compared to other music that listened before, the segment of the piece is played repeatedly so that I used to observe this music. The pinches in this work are unfamiliar to the audiences because they are not standard chromatic scale, which is equal temperament. The unique tuning system and the performance style increase the tension of the

The introduction of the piece is the same as that of “The Raiders March”, but with strings playing in the background. The A melody begins with the trumpet as the strings fade out (0:07). The first minute and a half of the song is played the same as that of “The Raiders March”, though due to differing sound equalization, some parts stick out more or less than they do in the original. For example, in the third repetition of the A melody, one can more clearly hear the xylophone accompanying the melody here than in “The Raiders March”. The piece begins to differ more significantly after the break following the third repetition of the A melody when the piece modulates down a half step instead of up like in the original (1:37).

This is then followed by a sing-song like eight-note figure that features a pointed forward momentum. The rhythmic building blocks of the theme is constructed in two bar phrases which then sequences upward by step (Example 1). The accompaniment to the theme is sustained half notes played by the second violins, Violas, and Cellos The home key and the harmonic content of the exposition is also very clear in its presentation. The opening of the movement is in A major and remains primarily diatonic in its harmonic content, with only the occasional passing tone. The primary theme is played twice having a four-bar transition in between each quotation (Example 2).

Instruments are introduced at the beginning of new sections, such as the pre-chorus and chorus. Dynamics each verse begins in mp and increases dynamically to mf at the pre-chorus; there is a slow crescendo to f during the transition from pre-chorus to chorus. Tempo the tempo of this song is moderato at approximately 116 bpm, however it feels much slower due to the emphasis being on the 2nd and 4th beats rather than on the 1st and 3rd.

The melody of this song described as restlessly chromatic and undulating, a swaying Arabic-sounding tune. The melodic line is filled with emotion and oddly unbalanced consisting of seven alternating sections of held tones and movement. The harmony is added behind the melody is dissonant but simultaneously lush. The rhythm was played with in Ella’s version making the classic song her own giving the clarinet a smooth solo. The simple rhythm of the song has an AABA pattern it sticks too.

The form does have repetition and no contrasts or variation in form. In regard to the music being ornamented with trills or being highly decorated, neither are present in this musical performance, it is a rather plain piece of music. The rhythm of this piece does not have any type of meter as it is chant. The tempo is adagio or slow and has a simple rhythmic pattern. On the subject of syncopation, there are a few periods in the piece where the performers does become a bit loud all of a sudden.

The opening of the piece contains several parallel voicing changes as he uses the G major pentatonic scale. He emphasized the use of fourths and fifths among the voicing to create a very open ambient sound world to set up the world around the piece. In measure three he then combines the same scale over F

First of all, the piece is quite interesting as a prelude – an introductory piece of music as it start off with dynamic and vibrant sounds that include the whole ensemble. This piece is structured as a three-part or ternary form which consists of ABA’ form. The idea of this piece is mainly act as an introductory of a story because this piece is only an excerpt from a bigger orchestral performance. From what I have heard, the solo performance is mainly comprise of the woodwind instruments in part B that indicated the slight sign of relief and calmness. The piece has a lot of variation where the composer include different timbres and dynamics such as the high dynamic structure during the first and the last part with the associating crashes of cymbals.

The artists, Jane Cardiff and George Bures Miller, released the exhibition which the music is main material. The works are succeeded when the music comes together. In principle of design, there are a variety, movement, and unity in order to explain about this work. First is Variety. When you see the artwork, you can recognize at a glance that the most representative factor of variety is the size.

3 and Four Pieces for Piano, Op. 4 to demonstrate the development of his innovative style, and compare them with Sarcasms in aspects of harmony, rhythm, piano devices, and texture to show the innovations Prokofiev applied in the