Each piece was performed well. I enjoyed listening to the extravagant music with very few mistakes. Beethoven’s Piano Concerto no. 4 The first movement in this piece opened with a solo piano. The pianist played chords in a key which I am unfamiliar and then came to rest on a dominant chord. There was a pause for what seemed to be two or three beats and then the orchestra entered in what I made out to be B major. A theme is played by the orchestra in the continuing B major and then drops in pitch to
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9/29/12 MTO 13.3: Ricci‚ The Progress of a Motive in Brahms ’s Intermezzo op. 119‚ no. 3 Volume 13‚ Number 3‚ September 2007 Copyright © 2007 Society for Music Theory Adam Ricci* The Progress of a Motive in Brahms’s Intermezzo op. 119‚ no. 3* ABSTRACT: Brahms’s Intermezzo op. 119‚ no. 3 is structured around a motive with two components—one melodic‚ one harmonic—that operate sometimes separately and sometimes together. The global harmonic trajectory of the piece is embodied in the combination
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Chapter 1: Musical Styles * Glissando * Rapid slide up or down a scale * Tone Cluster * Chord made up of tones only a half step or a whole step apart‚ used in twentieth-century music. * Bitonality * Approach to pitch organization using two keys at one time‚ often found in twentieth century music. * Polychord * Combination of two chords sounded at the same tine‚ used in twentieth century music. * Polytonality * Approach to pitch organization using two or
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it is pianissimo to the end. Texture: The piece is entirely homophonic and there are 2 monophonic bars at the start of coda. The A sections consist of a tune and broken chordal accompaniment. The texture is often quite thin‚ with mainly two-note chords above the repeated pedal note that supports the right-hand melody. There is chordal texture in Section B and the right-hand is in octaves here. The melody and bass are both low in the left hand. The texture is thickened in the loud section by the
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T. Jason Brown Advanced Form and Analysis Spring 1998 An Analysis of Beethoven s Sonata for Cello and Piano in A major‚ Op. 69‚ mvmt. 1 Beethoven’s Sonata for Cello and Piano‚ Op. 69‚ was written in 1808-09‚ just following his Symphony no. 6‚ Op. 68‚ “The Pastoral.” It may have been written with his “immortal beloved” in mind‚ since the dedication is to one of the suspected “beloved’s” brothers-in-law. On one copy‚ Beethoven wrote‚ in Latin‚ the phrase “Between Tears and Sorrow.” In this Romantic
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The lyrics for Brahms’ “Wie Melodien” Op. 105‚ No. 1 are from a poem written by Klaus Groth. It is a poem that never clearly states its true meaning. Instead‚ it arouses an emotional feeling of one dreaming about something from the past. And‚ these emotional feelings are expressed in Groth’s poem through a variety of images. The poem begins with using “melodies” as an image. In the first phrase‚ “Like melodies draw it to me softly through the mind‚” the word “melodies” seems to be symbolic
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masked by someone so blind and ignorant. And now my consequences have rightfully found their place‚ forcing me to become invisible to the world. I am like a continuous‚ endless rest in a piece‚ after a contrast from mezzo forte to sforzando arpeggiated chords climbing up the piano. I was a maestro‚ known by all‚ forced to disappear within the thin air of Vienna and to reappear in the humid‚ alien land of booze and blow. My previous life flashes excessively right in front of my eyes. Fortissimo hemidemisemi
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this continues through the third bar to the 6th‚ the last 2 bars are in E minor Aeolian. The harmonic intervals in this piece in two-part writing do not imply chords like 18th century music once did; there is also use of double false relation. The Four part harmonies are much more conventional. It is built on triads and 7th chords‚ with the use of double suspensions seen (these are prepared). The 4 part writing also resolves nicely. There is some unconventional use of modal influences and consecutive
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- Original Data C3 C3 A A P’ P’ P P C2 C2 O O C1 C1 Above are Circles c1 (orange)‚ c2‚ (blue) and c3(black). Circle 1 is as listed in the original circle. Circle 2 has a center point of P‚ a radius of OP and AP‚ and a chord‚ OA. Point A is a point of intersection between c1 and c2. Circle 3 has a center point of A and a radius of r and AO. In addition‚ Point P’ is the intersection of C3 with line segment OP. As I analyzed the given line segments‚ I noticed that Circles
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Oliver Breitenstein Development of a Flapping Wing Mechanism Semester Project Autonomous Systems Lab (ASL) Swiss Federal Institute of Technology (ETH) Zurich Supervision Dr. Samir Bouabdallah‚ Stefan Leutenegger and Prof. Dr. Roland Siegwart Spring Semester 2009 Contents Abstract Acknowledgements 1 Introduction 2 Review 2.1 Aerodynamics of flapping wings . 2.1.1 Wagner Effect . . . . . . . 2.1.2 Leading edge vortex . . . 2.1.3 Clap and fling mechanism 2.1.4 Rotational lift . . .
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