Beethoven Homophonic Style

Who is Beethoven? He is not the big dog that people have seen in movies. He is “Ludwig Van Beethoven and he is a famous pianos and composer.” (Biography par.1) I know most people might know him by his name but there’s a lot of thing people don’t know. Who is Beethoven, where he from is, why is he famous, what he all compose, and why he compose what he did?

Berlioz believed in originality just like Beethoven, this is display in both composers’ unsymmetrical structures. Beethoven starts The Fifth with dramatically contrasting dynamics, as with Berlioz beginning with a normal Sonata structure, however, with extreme fortepianos. Both composers utilize sequencing and sheer repetition. Beethoven employs the ‘Fate’ motif across themes; and Berlioz’s variation of triplet rhythms. On the other hand, Berlioz introduces a larger orchestra than that of Beethoven’s (1st – 3rd movements), Beethoven relies on his own intimate thoughts, to convey his individual and majestic orchestral writings while Berlioz’s compositional technique lies in the nature of the

It is then restated by each of the various families of instruments such as the woodwinds, brass, strings, and the percussion. It is then played again at the end, but by the orchestra as a whole. Each variation also changes the theme's dynamics (e.) by making the sounds go from a soft, mellow type of volume to a loud and very energetic volume. Throughout the piece it seemed that the tempo (g.) would go from a very fast, powerful pace to a slow, light and playful pace. In the final parts of Benjamin Britten’s piece, he makes use of counterpoint by showing how a melody (b.) can bounce from one instrument to another while still being in sync. The style period (j.) of Britten’s success musical composition was modern, since it was created in the latter years of the 1940s.The performance medium (k.) of this piece was of various classical instrumental

Sometimes, these two voices will overlap, creating a sense of a fugue, where two melodic lines flow at different times along the same stream. Although he breaks up the soft legato sequences with loud, harsh staccato chords for contrast, Beethoven generally preserves a milddynamic in part B which also helps obscure the switch from the transition to part B. Infact, a loud dynamic actually seems to signal a transition out of part B; in B_2’, the B_2 theme is repeated in sequence, getting louder, faster, and higher pitched until it climaxes.We expect this to become the cadence that will resolve the exposition and allow us tomove on to the development. However, it is a false ending; B_5 again resumes a moderate tempo and is played primarily by the woodwinds; the strings enter in littlespurts with loud, crisp notes until they join the woodwinds and the entire orchestra plays together to conclude the exposition.

Texture – The texture is homophonic throughout the whole of Section A. There are three layers of sound in the Section A. The first is the melody – played by the violins and trumpets. This is the layer of sound which is most prominent throughout A. The second is the timpani and viola part. This is the softest layer throughout the section. It provides harmony to the melody, using the notes of the D major chord. The last layer is the continuo bass It provides accompaniment and bass.

An application of Analysis of Beethoven’s ‘Pathetique’ piano sonata No. 8 inC minor, Op.13 with particular focus on musical features such as melody, thematic content, rhythm, form and structure, and harmony.

This work was composed during the Classical period, 1750- 1820. One aspect of the classical music style beign applied to this work includes the reoccurance of two or more contrasting themes. Another is the use of short and clearly defined musical phrases. Lastly, this piece, on a purely musical level, was simply more to hum along to. This type of melody took over the complex polyphony of the Baroque period.

Beethoven draws the listener in by providing multiple repetitions of the short fast-slow-fast waves. As I listened, I took notes about things I felt while hearing this. I felt like each time the symphony almost mellowed out with the violins, the listener was relaxed, but then the “fast” part came which included more instruments, and I felt awakened. When all the instruments came to a perfect harmony, it was soothing and satisfying to hear. I could also instantly see the emotions painted on conductor Claudio Abbado’s face as the wave increased in volume before mellowing out

“He (Beethoven) was a pivotal figure in the transition from 18th century musical classicism to 19th century romanticism, and his influence on subsequent generations of composers was profound” Kerman and Tyson. Beethoven’s sixth symphony (also known as the pastoral symphony) has qualities of both the classical and romantic periods and illustrates Beethoven’s revolutionary ideas as well as highlights his classical influences. The programmatic nature of the piece is the dominant romantic feature although the use of brass and percussion as well as the dramatic dynamic changes are also characteristics from this era. However there are many classical influences in Beethoven’s work such as the balanced phrasing, the

In classical music, the structures emphasize more the grace of proportion and balance, moderation and control; polished and elegance in character with expressiveness and formal structure held in perfect balance. Furthermore, the forms do not vary as much as the Romantic era, they had forms like sonatas, symphonies etc. The melodic phrases are usually balanced and symmetrical made up of two phrases of the same length. For an example, in Mozart's Clarinet Quintet, the music is very symmetrical and well balanced, in a variation form. However, in Romantic music, they rather emphasize on the emotional content than trying to sound balanced and symmetrical, and expanded their use of forms and created new forms, like impromptu, ballade, etude, nocturnes etc,. Moreover, the melodies normally have either really long or short phrases, increased in range, but also increased in chromaticism. For example in Mahler's symphony no.1 in D major "Titan", we can see that except it is in a ABA form, the whole movement was not as symmetrical and well balanced as the Mozart, although it is in a variation form, the melodic phrases have increased in range, are either really long, for example in the first 18 bars, or really short, where the melody can be hardly seen in bar 134-137.

Bach's "Organ Fugue G Minor" manages to sound both melancholy and lively at the same time. Although the texture of the piece is clearly Baroque in its construction, it has emotional depth that anticipates the Romantic period. The fugue is tuneful, partially because of its inventive repetition and expressive use of contrast. As in all fugues, one melody seems to repeat the other, in a kind of a musical dance. But the different voices are multifaceted and complex. The full range of the organ is represented and the textures of the music are complex.

Early eighteenth century marked the beginning of the middle period, which was said to be the most productive period out of his three compositional periods as some of his most magnificent works were produced during this time (Lockwood, 194). In this paper, I will examine the heroic style - why it came about, what are some characteristics of ‘heroic’ music and through the analysis of a ‘product of the times’ (Taruskin) , compare the differences between the music of the heroic style and that of before. The middle period is also known as the heroic period from 1803 – 1812 is after the Viennese period and before the Late

In addition to asymmetrical rhythms the use of polytonality is vibrant throughout the piece especially in the introduction which begins with different clarinets playing polytonal. Stravinsky structured The Rite very differently, melody was not the only dominant feature of the piece, other features such as the fore mentioned polytonality and asymmetrical rhythms were also at the dominant features of the piece. By breaking from many common practices of his own and of the time, Stravinsky created a piece slated in modernism's history.

On 17 December 1770, Ludwig van Beethoven was born. He was an amazing and great classical musical composer. He is known for being the most famous composer of the classical and romantic periods of music. According to the “Enjoyment of Music” manual, Beethoven was born in Bohn, Germany. His father, with his grandfather, was the two singers at the court of a local prince, Friedrich Max. (Forney and Machlis 197).

•Monophonic, texture evolved to homophonic texture in opera and solo arias, influencing both sacred and secular music. Many instrumental compositions were also homophonic.